The Christmas Club (2019, Hallmark)
Definition:
According to Investopedia: "A Christmas club is a type of savings account in which depositors make routine contributions throughout the year. The accumulated savings are then withdrawn at the end of the year to provide funds for Christmas shopping."
The Story:
Minneapolis, Minnesota (or... Toronto)
"I think you're confusing Christmas with birthdays,"
"No, it's a thing," Carrie says, smiling.
"Mmm, you're Jewish,"
"It's symbolic, and Santa knows I'm a big fan."
(Look, I know Hallmark is all about selling Christmas as a non-secular holiday for everyone, but the fact is they seem to forget that it's heavily rooted in Christian symbology and that people of other faiths don't necessarily partake in the holiday for that reason. They know Christmas things through heavy overexposuer, but they have their own faith and traditions. Hallmark seems very insistent that everyone of every background must be into Christmas because it's so awesome.)
Edward (dark hair, blue eyes, great sense of humour and great with kids) is a business advisor, helping new business gain the tools they need to succeed. His job means a lot of travel and no real fixed location to call home (he has a condo in New York but he's never there). The wealthy, handsome hobo. He had a particularly nasty breakup which he still hasn't really recovered from, and his parents didn't make Christmas a very joyous occasion. He's no grinch, mind you, just not very festive. He's in Minneapolis pre-Christmas helping a client and visiting his sister Beth's family and spending time with his nephew Connor.
 |
| Oh noo. |
They sit on a swing and talk. It's utterly charming and they are lovely together. But they depart without exchanging contact info and both immediately regret it.
Back at the dance studioJulietteOlivia learns that the owner is going to sell the business (and I guess the space as well?) and is hoping to do it before she goes in for surgery just after Christmas, because she doesn't think she could handle it while recovering. This means the big Christmas recital JulietteOlivia and Carrie have been working on with the kids may be cancelled. She's crestfallen. She loves her boss, she loves the freedom her studio gives her, she loves the space they're in, she loves the kids and the recital...and now all of it's going away, or at least changing. My immediate thought - hey why not start your own studio and hire Edward to help get it up and running? She leaves to go pick up Maeryn and catches a cab. The previous rider gives the cabbie a $10 tip on a $10 ride ("That's found money. That 20 practically flew into my hands.") Just as JulietteOlivia is getting in the cab Edward spies her down the street but is too late to catch up to her.
At home, over eggnog,JulietteOlivia has bittersweet feelings to relate to her mom. She's met a nice man, but didn't get his contact, and is still pretty walled off from the idea of dating especially since Edward doesn't live in Minneapolis. Mom tells her it's time for her to give it a shot. But JulietteOlivia confesses she's feeling terrible about losing her job, and everything she's built. She just wants things to stay the same. Her mom reassures her she will figure it out. JulietteOlivia just wants to drink more eggnog.
Over at Edward's sister's home, he's warming up to Christmas.
The next dayJulietteOlivia and Maeryn go to the Christmas Festival where she happens to run into Edward who is there with his sister's family. Edward introduces JulietteOlivia to his family (his sister, Beth, is so very excited to meet her), noting "this is the woman who helped me with Gertrude yesterday". Smash cut to Gertrude peeking out from behind a fibreglass Santa sitting on a bench.
Destpite the awkwardness earlier in the day,JulietteOlivia, Maeryn, and mom go to the Christmas Festival tree lighting where Beth and family are joining them. JulietteOlivia introduces Edward to Mom who immediately sizes him up and starts using her sultry voice. Mom approves.
Maeryn wants to hang out with the other kids up front, butJulietteOlivia just wants to hold her hand.
JulietteOlivia (to Mom) "Pretty soon she's not going to want to hold my hand at all."
Mom (lifting up their held hands and kissingJulietteOlivia's glove) "And then, some day, she will again."
Mom's great. Edward is standing by during this whole conversation reaches down during the tree lighting countdown and holds her hand. They both grin sweetly.
While looking at all the store front lighting (the mural is coming together, it's starting to look like a picture of Santa and Mrs Claus but their faces incomplete). Edward spies a vacant storefront that he pegs as perfect for the studio andJulietteOlivia starts to dream. Edward explains that even if she did try, and fail, she would be back exactly in the same position she's in now, so what's there to lose.
The next day, Edward andJulietteOlivia start working on the plans for the business over a walk and lunch. Of course they wind up back at the Christmas Village, and get hot dogs (erm, ho-ho-ho dogs) from the same vendor who gave them the free pecans a few days ago. Edward gives him a 20 and tells him to put it towards the next person who comes. The vendor mentions someone doing the same thing a few days ago with a $20 bill they found. Another of Gertrude's bills! Time for a carriage ride, and snuggling under a blanket, making it Edwards "all-time best business meeting". (Meanwhile Gertrude continues creeping)
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| At one point Olivia runs into Gertrude at the Christmas Festival and asks her "What are you doing here?" She says "...My husband works here." If she is Mrs. Claus, I like to think that this is her husband. Best Santa ever. |
Back at the dance studio
At home, over eggnog,
Over at Edward's sister's home, he's warming up to Christmas.
The next day
Guys, Gertrude is Santa! ("No," I hear you say, "Gertrude is Mrs. Clause" and to that I say, "Don't be sexist."). Some walking and talking in the park, Edward learns JulietteOlivia is a widowed mother and is more than okay with it. But Maeryn asks her mom to go do a huge mural on "Camden Street" (Front Street again) and they depart, but sister Beth is keen to play matchmaker and encourages the whole family to go over, talking Edward through his anxieties around dating and Christmas while Gertrude looks on.
The mural leads to ridiculous hot cocoa with whip cream all over Edwards face (which he does to entertain the kids...he's great with the children!!) and then back to the festival to see Santa! But Edward has to go to work to show his client Greg some spaces in town. He asksJulietteOlivia if he can give her his number and he writes it down on a napkin. Notes from Graig's playbook: giving a girl your number instead of asking her for hers is a coward's move putting all the onus on her. You ask for hers and then give her yours. If you give her yours she's going to subconsciously judge you and probably not make the move...he said from experience. Also, it's modern times, you don't write it down, you put it in your phone... because kids spill hot chocolate and use napkins to wipe it up making phone numbers written on napkins illegible. Oh no.
Three days later at that same toy store, Beth is a bit anxious thatJulietteOlivia hasn't called and Edward is self deprecating (questioning why she would even consider dating a "human tumbleweed"). Beth is rather upset that he didn't get her number. "I wanted it to be her decision, I was trying to be a gentlemen."
Beth fails to call him out on her cowardice.
JulietteOlivia needs to find a gift for Maeryn and heads over to the very same toy store. Both Beth and JulietteOlivia hear the clerk pass along a found $20 to a customer who can't afford a specific gift for their kid. They run into each other, and Beth does what Edward couldn't and gives and receives phone numbers.
JulietteOlivia returns to the studio while Beth texts Edward, who tells Greg to go get lunch then literally runs over to JulietteOlivia's location. It's freaking adorable. They're so cute together
BUT Greg followed Edward and falls immediately in love with the dance studio space. It's bad timing forJulietteOlivia, but perfect for Greg's needs. The mere thought of the studio leaving sends Olivia into a spiral and she lashes out at Edward, but Edward, being good at his job, recognizes both the opportunity for his client, Greg, and for JulietteOlivia. He seeds the idea of JulietteOlivia starting her own space and helping her get up and running. Called it! "I'm not going to let you fail on this" he said, "and who knows, maybe your boss isn't even going to accept the first offer anyway." Greg immediately steps out, shouting triumphantly "She accepted the offer!" (Edward, under his breath, "Really, are you kidding me right now?")
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| QUIT CREEPING, GERTRUDE! |
The mural leads to ridiculous hot cocoa with whip cream all over Edwards face (which he does to entertain the kids...he's great with the children!!) and then back to the festival to see Santa! But Edward has to go to work to show his client Greg some spaces in town. He asks
Three days later at that same toy store, Beth is a bit anxious that
Beth fails to call him out on her cowardice.
BUT Greg followed Edward and falls immediately in love with the dance studio space. It's bad timing for
 |
| "Good Timing Greg" we like to call him... |
Destpite the awkwardness earlier in the day,
Maeryn wants to hang out with the other kids up front, but
Mom (lifting up their held hands and kissing
Mom's great. Edward is standing by during this whole conversation reaches down during the tree lighting countdown and holds her hand. They both grin sweetly.
While looking at all the store front lighting (the mural is coming together, it's starting to look like a picture of Santa and Mrs Claus but their faces incomplete). Edward spies a vacant storefront that he pegs as perfect for the studio and
The next day, Edward and
Then to JulietteOlivia's home where Maeryn invites Edward to help make cookies (and drink eggnog) with and Mom. Montage! Edward's finally understanding the appeal of Christmas, and kisses JulietteOlivia on the cheek goodnight. Now that's a move from the Graig playbook.
5 days before Christmas, the loan is still pending, but waiting is the worst part. But insurance won't let them hold the dance recital in the old space and the loan probably isn't close on the new space until after Christmas. The next dayJulietteOlivia finds out the loan clears and they can use the space for the recital, so she excitedly goes to the bank with gift in hand for the loan officer (and a carriage ornament for Edward), only to find Edward is there. Edward amidst to helping push the loan through when she had said to him she wanted to do it for herself, and she starts to spiral, pushing him away.
But Mom and Carrie and Beth aren't as ready to give up as these two are, and at the Christmas dance recital (which is earnestly very cute) they reunite, with a little hint of intervention from Gertrude, who, if the now-complete Christmas mural is correct, is Mrs. Claus. Christmas magic, with a little bit of letting go of old traumas. This was a damn sweet movie.
The Draw:
Oh,JulietteElizabeth Mitchell, to be sure. I loved Juliette on Lost, in case you hadn't noticed.
The Formulae:
There's a few bits of the formula here. Widowed mother, dude who is closed off to Christmas, a Christmas Market/Fair/Festival, cookie baking montage, a business expert using their business expertise to help someone with their business, the sudden (irrational) complication, and the bit of Christmas fantasy/twist ending.
Unformulae:
Usually the bit of Christmas fantasy is Santa getting in on the action, turns out Gertrude was Mrs. Claus all along.
It felt like all the pieces fit here, like a puzzle (or Christmas mural). Where so often in these Hallmark movies they have to force the pieces together, they seemed to fall into place rather naturally.
The Christmas Mural was new, and a neat idea (though it seemed to take an awful long time for the community to complete this mural). I also liked the time early on spent on the swinging bench in the Christmas Festival. I don't think I've ever seen a swinging bench in one of these before and it does create a nice sense of intimacy. Two strangers having to move in sync with one another to make the swing work. It was great for establishing their connection, and shot well.
I think thatJulietteOlivia's reservations about Edward were going to be there no matter what, but his transient lifestyle meant he wasn't settled down and that he was going away, and it gave her something to focus on in keeping her guard up. That she had her Mother and Carrie and her boss and her daughter and even Gertrude and Beth pushing her towards Edward may seem like a lot, but mostly it was just people reminding her to be open and to try. This is mirrored by accepting the idea of starting her own dance studio. She just doesn't think she's able but she's able to envision it far more clearly and far more rapidly than being in love, despite how good, and easy, it is with Edward.
I also like how Edward had his own hangups which seemed just as genuine, dating back to childhood.
One of the aspects of Hallmark movies that is rarely done well is the 20-minutes-left complication. They usually seem contrived, and here it's no exception, except they still manage to talk it through. They both start to justify why things would never work between them and start to reinforce the negative patterns or beliefs in their lives. It's not a great complication but it's handled very, very well.
True Calling?
Nah. The Christmas Club was evoking something very different in my mind...I was thinking, like, 1920's speakeasy with gangsters and molls and such. There's only a tangential connection here.
The Rewind:
That kid playing in the "snow" which is clearly cotton batting just rolled out everywhere. He pats the batting multiple ways into a little mound. It's hilarious.
The Regulars:
This isJulietteElizabeth Mitchell's first ever Hallmark and she knocks it so far out the park, she never needs to do another one. She's bubbly, sweet, funny, adorable, alluring, relatable and she connects with everyone she's with on screen. Her friendship with Carrie and her boss feel important to her. Her time with her daughter seems utterly precious. Her time with her mother is so, so great. And her scenes with Edward are just magnificent. They make an amazing on screen couple, wide bright smiles, playful candor that really sells, and when JulietteElizabeth Mitchell laughs, it seems real. She seemed to have a good time with this. And I had a good time watching her have a good time. *crush*
Cameron Matheson has a pile of Hallmarks under his belt so this could easily be old-hat/sleepwalking territory for him. But Matheson connects with Mitchell, and she seems to be elevating everyone. Matheson likewise connects with the kids very, very well and Jenny Pudavick as his sister seems like a real familial connection. Plus, he's legitimately funny in delivering his lines. My wife and I were expecting to hate him, but within mere minutes were were putty in Matheson's hands. Very, very charming.
Canadian character actor Pudavick is great as Beth. She wants the best for her brother and she is eager to make it happen. It's a solid supporting role, and she nails it with sweetness, heart and humour. It's an excellent turn.
Carrie is played by Rachel McClaren, who has two credits on IMDB, both Xmas TV movies from this year. One Hallmark and one Lifetime. She's stunning and charming as well, and I could see her be easily elevated to starring status in one of these in no time. I wonder if she's really Jewish... that would make her leading role even more intriguing (probably over on Lifetime or Netflix though)
Kate Trotter as Mom (aka Barb) puts in one of the best Mom roles in a Hallmark yet. Usually this is a tired supporting role that has once prominent but now underutilized actresses sleepwalking through them. But Trotter brings it and her relationship with Mitchell feels like it's lifelong. She's so good, and what a voice. Rrrrr.
Gertrude/Mrs. Clause is played by Gabrielle Rose. She's also been in a pile of Hallmarks. If anyone is kind of sleepwalking here, it's Rose, since she has the most menial job in the film of pretending to be a poor, doddering old lady, and of making it look like she was pretending.
How does it Hallmark? Oh, so good. I mean, this is works through the Hallmark formulae but takes it to the next level. It's elevated at nearly every turn. But most of all, it's actually funny. More than perhaps any other Hallmark it actually feels like a rom com, where you're getting the romance and laughing along the way. It's got some well timed comedy bits, but also Mitchell and Matheson's natural charms bring a lot of humour as is. I don't know if some of the sweet little back-and-forths were ad-libbed but I wouldn't be surprised if they were. There was such amazing chemistry happening on screen. I loved this one.
What I didn't love was the perpetuated "Gertrude" + "Christmas magic" throughout the film. She doesn't serve any beneficial role and the idea of "Christmas magic" works better when left vague rather than trying to personify it in some creepy old lady.
How does it movie?
As fun as it is, it's still a Hallmark movie, you know? It's not big screen worthy. But it's still really fun, a lot more enjoyable than a lot of big screen romcoms.
5 days before Christmas, the loan is still pending, but waiting is the worst part. But insurance won't let them hold the dance recital in the old space and the loan probably isn't close on the new space until after Christmas. The next day
But Mom and Carrie and Beth aren't as ready to give up as these two are, and at the Christmas dance recital (which is earnestly very cute) they reunite, with a little hint of intervention from Gertrude, who, if the now-complete Christmas mural is correct, is Mrs. Claus. Christmas magic, with a little bit of letting go of old traumas. This was a damn sweet movie.
 |
| Hey, the mural's done and in it...Gertrude is Mrs. Claus!!! |
 |
| And in case you forgot what Gertrude looked like, here she is...STILL CREEPING! |
The Draw:
Oh,
 |
| Umm..Hi *swoon* |
The Formulae:
There's a few bits of the formula here. Widowed mother, dude who is closed off to Christmas, a Christmas Market/Fair/Festival, cookie baking montage, a business expert using their business expertise to help someone with their business, the sudden (irrational) complication, and the bit of Christmas fantasy/twist ending.
Unformulae:
Usually the bit of Christmas fantasy is Santa getting in on the action, turns out Gertrude was Mrs. Claus all along.
It felt like all the pieces fit here, like a puzzle (or Christmas mural). Where so often in these Hallmark movies they have to force the pieces together, they seemed to fall into place rather naturally.
The Christmas Mural was new, and a neat idea (though it seemed to take an awful long time for the community to complete this mural). I also liked the time early on spent on the swinging bench in the Christmas Festival. I don't think I've ever seen a swinging bench in one of these before and it does create a nice sense of intimacy. Two strangers having to move in sync with one another to make the swing work. It was great for establishing their connection, and shot well.
I think that
I also like how Edward had his own hangups which seemed just as genuine, dating back to childhood.
One of the aspects of Hallmark movies that is rarely done well is the 20-minutes-left complication. They usually seem contrived, and here it's no exception, except they still manage to talk it through. They both start to justify why things would never work between them and start to reinforce the negative patterns or beliefs in their lives. It's not a great complication but it's handled very, very well.
True Calling?
Nah. The Christmas Club was evoking something very different in my mind...I was thinking, like, 1920's speakeasy with gangsters and molls and such. There's only a tangential connection here.
The Rewind:
That kid playing in the "snow" which is clearly cotton batting just rolled out everywhere. He pats the batting multiple ways into a little mound. It's hilarious.
The Regulars:
This is
Cameron Matheson has a pile of Hallmarks under his belt so this could easily be old-hat/sleepwalking territory for him. But Matheson connects with Mitchell, and she seems to be elevating everyone. Matheson likewise connects with the kids very, very well and Jenny Pudavick as his sister seems like a real familial connection. Plus, he's legitimately funny in delivering his lines. My wife and I were expecting to hate him, but within mere minutes were were putty in Matheson's hands. Very, very charming.
Canadian character actor Pudavick is great as Beth. She wants the best for her brother and she is eager to make it happen. It's a solid supporting role, and she nails it with sweetness, heart and humour. It's an excellent turn.
Carrie is played by Rachel McClaren, who has two credits on IMDB, both Xmas TV movies from this year. One Hallmark and one Lifetime. She's stunning and charming as well, and I could see her be easily elevated to starring status in one of these in no time. I wonder if she's really Jewish... that would make her leading role even more intriguing (probably over on Lifetime or Netflix though)
Kate Trotter as Mom (aka Barb) puts in one of the best Mom roles in a Hallmark yet. Usually this is a tired supporting role that has once prominent but now underutilized actresses sleepwalking through them. But Trotter brings it and her relationship with Mitchell feels like it's lifelong. She's so good, and what a voice. Rrrrr.
Gertrude/Mrs. Clause is played by Gabrielle Rose. She's also been in a pile of Hallmarks. If anyone is kind of sleepwalking here, it's Rose, since she has the most menial job in the film of pretending to be a poor, doddering old lady, and of making it look like she was pretending.
How does it Hallmark? Oh, so good. I mean, this is works through the Hallmark formulae but takes it to the next level. It's elevated at nearly every turn. But most of all, it's actually funny. More than perhaps any other Hallmark it actually feels like a rom com, where you're getting the romance and laughing along the way. It's got some well timed comedy bits, but also Mitchell and Matheson's natural charms bring a lot of humour as is. I don't know if some of the sweet little back-and-forths were ad-libbed but I wouldn't be surprised if they were. There was such amazing chemistry happening on screen. I loved this one.
What I didn't love was the perpetuated "Gertrude" + "Christmas magic" throughout the film. She doesn't serve any beneficial role and the idea of "Christmas magic" works better when left vague rather than trying to personify it in some creepy old lady.
How does it movie?
As fun as it is, it's still a Hallmark movie, you know? It's not big screen worthy. But it's still really fun, a lot more enjoyable than a lot of big screen romcoms.
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