This article was originally published by Russell Matthews on 5/11/19 for Reel Dialogue.

Last Christmas – Official International Trailer (Universal Pictures) HD

You would think that the romantic-comedy would be a mainstay for production companies, but they have become an endangered species in modern cinema. Some of it can be blamed on Netflix and Hallmark who continue to put out poorly produced and written romances that have jaded audiences to the genre. Another culprit in the mystery to find a quality rom-com could be the films that contain enough mature content or gross-out humour in them that they are less romance then soft porn or another Seth Rogen project.** Then to have a new entry in this market that is written by Academy-Award winning writer/actress Emma Thompson and holding an intriguing message of genuine romance and redemption… could there be hope for the romantic-comedy?

Emilia Clarke comes off of Game of Thrones with a role that seems to suit her persona without any dragons needed. She plays the title role of Kate, a shop-worker who has a penchant for bad choices. As the head-elf at Santa’s (Michelle Yeoh) Yuletide store in London, her life seems to have become an existence of junk food, alcohol and sleeping on whatever friend’s lounge she can find. Then one day a mysterious stranger named Tom (Henry Golding) comes into her life and begins to guide her life out of the downward spiral. 

The young bike courier manages to discover why Kate is on this self-destructive path and encourages her to find a purpose for her life. One way is to reconnect with her imperfect, but loving family. All who are trying to help her through the darkest point in her life. Their relationship grows through their brief meetings and Kate finds herself dependent on Tom’s encouraging influence. She begins the journey to finding her voice and place in the world and even rediscovers her love for her family, but this is when Tom becomes less available and causes her to wonder where he goes when they are not together. 

Even though the story takes time to gain momentum, Last Christmas does become a festive package for all of the romantics of the world. Thompson has written an endearing script that provides enough humour, fantasy, twists and amour to prove that the rom-com is alive and has hope for the future. George Micheal’s songs do manage to complement and add a bit of magic to this festive and endearing film.

Clarke can break free from her iconic role as Daenerys Targaryen and show that she can be a vulnerable and capable romantic lead. This bittersweet character allows her to show her whimsical and dramatic abilities alongside one of Hollywood’s up and coming heartthrobs. Henry Golding has managed to springboard off of Crazy Rich Asians and proves he can win the hearts of women the world around. With his second partnership with director Paul Feig who cast him in the long-forgotten A Simple Favour, both men have found a winning combination in this partnership. These strong leads are propped up beautifully with the scene-stealing performance of Emma Thompson. Her take on Kate’s Eastern European mother, Petra, is one of the most memorable of the year. 

After kissing so many frogs, this is a romantic comedy that proves that you can find a princess or prince. Nothing is perfect and this is not destined to be a classic, but it does give hope to this genre. Providing the romantics come out to the cinemas and enjoy a night of holding hands, shedding a few tears and quite a few laughs. A thought that will cause some to gag, but this film is not for the skeptics, but the romantics of the world. 

**Definition of a Seth Rogen project: Films with no taste or everyone was high when they wrote the script or both. Any film that uses masturbation, marijuana and f-bombs for humour. Every Seth Rogen film.

For more great reviews like this one head to reeldialogue.com

For great films from MOVIES CHANGE PEOPLE head to movieschangepeople.com

Last Christmas - Reel Dialogue Review

See below to claim your complimentary tickets to see this wonderful film!

A BEAUTIFUL DAY IN THE NEIGHBORHOOD – International Trailer

Tom Hanks portrays beloved American children’s TV icon, Mister Rogers, in A Beautiful Day in the Neighborhood, a timely story of kindness triumphing over cynicism, based on the true story of a real-life friendship between Fred Rogers and journalist Tom Junod. After a jaded magazine writer (Emmy winner Matthew Rhys) is assigned a profile of Fred Rogers, he overcomes his skepticism, learning about empathy, kindness, and decency from America’s most beloved neighbour.

Starring Tom Hanks, Matthew Rhys, Susan Kelechi Watson and Chris Cooper and directed by Marielle Heller.

Fred Rogers’ children’s educational program Mister Rogers’ Neighborhood aired on American television from 1968-2001. After graduating from Pittsburgh Theological Seminary, Rogers became a Presbyterian minister in 1963 before going on to create the widely-lauded program which aimed to help young children deal with the increasingly complicated issues they faced during that time such as divorce, death, bullying, anger and sadness. His Christian faith informed every interaction with his young audience and those in his real life, and over the years became a central figure of comfort to millions of Americans.

If you live in Brisbane, Sydney or Melbourne, then get along to our free screenings of this beautiful film - December 4, 6:30pm IN ALL LOCATIONS!

Event Cinemas Castle Hill, Castle Towers Shopping Centre, Cnr Old Northern Road & Castle Hill

Hoyts Melbourne Central, Cnr Swanston St & Latrobe St, Melbourne

Event Cinemas Garden City, Cnr Logan and, Kessels Rd, Upper Mount Gravatt

Complimentary Tickets for "A Beautiful Day in the Neighborhood"

This article was originally published by Russell Matthews on 9/11/19 for Reel Dialogue.

There are stories throughout history that transcend time and have applications that can reach into the human experience regardless of the era or context. Then some films inspire generations because a beautiful combination of compelling storytelling, the right actors hired to portray the characters and a strong vision of the director behind the camera. With all of the options in theatres and streaming across the world it would seem that this should be a simple formula to administer, but each year these golden moments are a rare find. The story of the battle for automotive dominance during the 1966 Le Mans between Ford and Ferrari does not inspire confidence that this will happen, but this film did prove to have everything needed for one of the most inspiring and entertaining films of the year.

Carroll Shelby (Matt Damon) is best known for his namesake and design of the Mustang that was driven by Steve McQueen in Bullitt. Unbeknownst to those outside of the world of auto racing, this man was one of the only Americans to win LeMans and was one of racing’s most significant stars. After his racing days were over, he became known for his unique car design that gained the attention of automotive aficionados from around the world. 

When Lee Iacocca (Jon Bernthal) came to Shelby to ask for him to consider designing and building a Ford that could compete and beat Ferrari at the great endurance road race of LeMans, the racer was intrigued. The one thing he needed to prove to the Ford Motor Company and Henry Ford II (Tracy Letts) was that it would take more than a fast car to win at LeMans. To win the prestigious event, they would need to hire the best driver for the job and that this man was the less-than-refined Ken Miles (Christian Bale).

FORD v FERRARI | Official Trailer [HD] | 20th Century FOX

Unlike many films that show how individuals attain their goals in life by merely believing in themselves, director James Mangold (Logan) has brought out a film that shows that the greatest achievements in life are forged through fire. We hear of the legendary tales of greats in industry and disciplines like Henry Ford, Lee Iacocca, Carroll Shelby and Ken Miles after they have already achieved their goals in life. 

Unfortunately, most people do not get to see the difficulties, opposition, failures and sacrifices that these individuals needed to endure to achieve their dreams. This story manages to show Iacocca stuff up a pitch meeting, Shelby struggle with his business and Ford fail in acquiring Ferrari which humanises this whole experience and allow the audience to connect with these legendary figures. Christian Bale, Matt Damon and Jon Bernthal (one of the most underrated actors of our generation) are made for these roles and epitomise the legendary figures they represent.

This is a theme that should resonant with those striving to live out a Christian lifestyle based in the teachings of the Bible. In James, it states, blessed is the man (person) who remains steadfast under trial, for when he has stood the test he will receive the crown of life, which God has promised to those who love him. It proves that hardship and trials are part of life and they do not mean we are meant to give up at the first sign of difficulty. Many times they are there to refine our thinking and stretch us to be better. The differentiation between the biblical model and the example in most modern day movies is that the God of the Bible offers hope despite the outcome that might result. 

No one is perfect in this film They may have been great at what they did in their time, but they were as human as anyone else. This aspect will help audiences to see how this story transcends a race in France and shines its light on the human soul and value of our relationships. Mangold manages to make this whole industry engrossing and manages to make the audience feel like they are along for the ride. This long-forgotten tale of auto racing provides something for anyone looking for great entertainment and the desire to be inspired at the cinemas again.

For more great reviews like this one head to reeldialogue.com

For great films from MOVIES CHANGE PEOPLE head to movieschangepeople.com

Ford v Ferrari - Reel Dialogue Review

It's something that doesn't fail to call out gratitude in us: the way that God redeems.

It isn't just what he does; it's the way he is. 

And there is a new film coming out that has this at the heart, this month: BEAUTIFULLY BROKEN, releasing in cinemas on October 24th.

The film makers chose this title for a reason—because the film tells the most unbelievable true story of three families from different sides of the world—the kind of story that has to be seen to be believed (see our blog about it here). And it's a story of God redeeming the unredeemable. 

That's why it's "beautifully broken." It hits home because the fact is, we are all beautifully broken. 

I recently found myself in a forum for speakers of languages other than English, where someone had asked this question:

"As I understand, both verbs 'redeem' and 'rectify' have one same meaning - to correct something, do they? Does it mean that they are interchangeable and you can say 'to redeem/rectify the situation you have to make further tests’?"

It's pretty understandable for someone unfamiliar with some of the nuances of English to assume that these words have the same meaning, but it got me thinking about the huge difference between them. Especially for those of us who have had a revelation of grace.

Google defines RECTIFY as: to put right; correct.

And REDEEM as: compensate for the faults or bad aspects of; do something that compensates for poor past performance or behaviour; atone or make amends for (sin, error, or evil); save (someone) from sin, error, or evil.

Not terribly inspiring, perhaps, and maybe that's because these cold definitions lack the warmth of the personal-ness, the intimacy, and engagement that happens when God redeems. The way he comes close and makes things beautiful.

If we think of this specifically in terms of the work God does with broken situations in our lives, then we're talking about something much mightier, long-reaching, relational and powerful, than a simple fix-it. Because the situation doesn't just get "put right" (and sometimes not at all, or at least in the way we expect or hope). It gets made into something beautiful.

He's really like that. And we can take time to pause and give thanks for it—because he's amazing!

BEAUTIFULLY BROKEN is in cinemas October 24. For cinema locations and times, the trailer and more information, go to www.beautifullybroken.com.au.

Beautifully Broken Official Trailer #2 | In Cinemas October 24

Redeem vs Rectify

Miraculous stories happen every day.  And this is a particularly good one.

It's the story of the wonderful journey of friendship and healing that happened between Andrea Hartley and her Compassion sponsor child, Umuhoza, which is told in the upcoming film, BEAUTIFULLY BROKEN.

Often we think about the wonderful blessing that happens through Compassion towards the sponsored ones—the ones who need it most. But there is the other side of the coin—the blessing that flows to the sponsor. Indeed, it is safe to say that when they first sponsored Umuhoza in Rwanda, the Hartleys had no idea of the beautiful impact it would have on their family.

Randy Hartley, Andrea’s father, says that at the time, his daughter was “a lost soul.” Little did the family know, but she had been physically assaulted in a park when she was twelve, and as a result she had changed completely—acting out and disengaging from those who loved her. "She had totally lost her self-esteem and sense of self-worth.”

The only person she confided the truth to was Umuhoza, in her letters. And the only person she connected with at home was a new friend, Aimee, who was herself a refugee of the Rwandan genocide. Aimee's family were starting a new life in America, and they bonded over the connection to Rwanda. In 2009, the two families decided to travel to Rwanda together, in part to visit Umuhoza, on a trip that marked the beginning of both their paths to healing and forgiveness.

The outcome of meeting Umuhoza was, for Andrea, transformational. 

“By going there and seeing the impact [Andrea] had made…you talk about a purpose-driven life—it did change her life. She came back, started working in school, got a college degree in International Studies, and my daughter actually lives in Nairobi, Kenya now, and has been in mission work there for four years.

“And if you saw the girl that was […] in high school in our household, and the girl today who’s living a purpose-driven life, you wouldn’t think they are the same person.”

Andrea has found her life-work in Africa.

“So that’s why I’m a proud dad who can put some really deep personal things on film,” Randy says. “The film shows the path we all took to be whole again, by leaning on Christ and leaning on each other.”

The film that tells this incredible story of redemption is called BEAUTIFULLY BROKEN, and it powerfully illustrates the incredible work of Compassion: How broken situations can be—and are—redeemed by God, and made beautiful. 

As we know, God does this with exceptional grace and power not only through Compassion Australia—but for and through every one of us. Andrea and Umuhoza are an example of that, too.

BEAUTIFULLY BROKEN is in cinemas on October 24. 

For cinema locations and times, to make a group booking, or for resources to share, go to www.beautifullybroken.com.au.

Three Families. Two Worlds. One Incredible True Story.

We recently had Father's Day, and it's a pretty fun day, according to all the tv ads, with BBQs, toolboxes and camping gear as gifts, and maybe a day out-of-doors in the perfect Spring weather.

Being a dad isn't easy, and sometimes having a dad (or 'not having' a dad) isn't easy either.

We are currently releasing a lovely modernisation of 'Little Women' into cinemas, and little did we know, there is something at the heart of that story (specifically the timeless 1868 novel by Louisa May Alcott) that you wouldn't know for reading it (or watching one of the many adaptations).

In the book, Mr March is wonderful. Somewhat nonexistent after his return from the war, but wonderful all the same. You can tell how wonderful he is by how much his wife and daughters—all the 'little women'—love him.

But Louisa May Alcott's real father was, like all non-fictional dads, far from perfect. He is, in fact, the reason for 'Little Women' being written at all, since it was his inability to support his family which drove Louisa to write—in fact, to write whatever her publisher suggested, even though she thought writing a girls' story was "a stupid idea."

But the family was so endlessly poor that it became Louisa's dream to make her mother be comfortable (though she swore never to marry, herself). The first printing of 'Little Women' sold out in two weeks.

But that didn't mean that her relationship with her father, Bronson Alcott, improved. A member of New England’s Transcendental Club and a friend of its other members—Emerson and Thoreau among them—he was "a man who had thoughts." He considered himself to be a philosopher, but he is mainly remembered as a pioneer of 'progressive education.'

He founded different schools and communities that aligned with his beliefs—no alcohol, no milk, no forced animal labour in the fields they tilled... Cold baths and vegetarianism (and only vegetables that grew upward, never down). Lofty in theory, but in practice, a failure. Students didn't exactly queue at the door for admittance. 

So Bronson more or less gave up trying to make a living when he was still in his forties. He did some intellectual speaking that he was occasionally paid for and he tried, unsuccessfully, to write some of his beliefs down coherently. But that's about all really. And Louisa was bitter about this. Sometimes they had to resort to bread and water for dinner and accept charity from relatives and friends, and Louisa once wrote rather bitingly to her father that her goal in her work was to prove that “though an Alcott I can support myself.” 

And maybe her goal was also to prove something else. Because it's pretty obvious to any casual observer that every single character in 'Little Women' is based on a corresponding person in Louisa's own family. They are almost outrageously copied. The one exception is her father. New Yorker author Joan Acocella writes:

"Father March comes home from the war, stumbles into the back room, and thereafter mostly stays offstage, reading books. Occasionally, he wanders in and says something or other. Then he wanders back out. In one sense, we could say that Louisa erased him—a sort of revenge, perhaps. In another sense, this may just be an erasure of her feelings about him: she didn’t want to talk about it."

Something many of us have done, maybe? Try to prove that we don't need our fathers? Try to pretend that they don't exist? But this didn't work, exactly. Because, as will always happen when we try to pretend that our fathers have no bearing on us, when we deny the reality of their existence rather than do the hard labour of shedding the tears, choosing the forgiveness, or working through the scars, it all comes out in the end.

Because while Louisa more or less wrote her father out of the book, "the ideals to which he held so stubbornly inform every page."

"Bronson’s obsession was with the transcendence of the material world, with seeing through appearances to a moral and spiritual truth. He took this passion to extremes, and that is what made him eccentric, not to speak of irresponsible. But that is also the cast of mind that, with the addition of common sense and humor and an attachment to regular things—life, family, dinner—makes Alcott’s most admirable characters admirable."

It's rather fascinating that in mucking through the trials brought about by the weaknesses and failures of her earthly father, Louisa May Alcott was able to create a story that speaks to its readers just as powerfully and as timelessly as it did when it was first written.

It's a rather hopeful outcome, for all of us, perhaps, that something eternally touching might be the fruit of pressing in to this relationship we might have with our difficult fathers.

And in time it does seem that she was able to forgive him.

"At the age of fifty-five, she went to visit him at the convalescent home where he was then living (at her expense, no doubt). Kneeling at his bedside, she said, “Father, here is your Louy. What are you thinking of as you lie here so happily?” “I am going up,” he said. “Come with me.” She obliged him. Three days after their conversation, Bronson breathed his last. But Louisa never knew of it; she was in a coma, after a stroke, and died two days after him."

No doubt their relationship is much better now: eternally better, in fact—eternally healed.

Little Women is in cinemas from September 5.

Go to www.littlewomenthemovie.com.au for screening locations and times.

All quotes were taken from Joan Acocella's article in The New Yorker, August 27, 2018.

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Last Christmas - Reel Dialogue Review

Complimentary Tickets for "A Beautiful Day in the Neighborhood"

Ford v Ferrari - Reel Dialogue Review

Redeem vs Rectify

Three Families. Two Worlds. One Incredible True Story.

Mr March

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