Directed By Thaddeus O’Sullivan

Starring – Laura Linney, Kathy Bates, Maggie Smith

The Plot – Set in 1967, the film follows the story of three generations of close friends, Lily (Smith), Eileen (Bates), and Dolly (Agnes O’Casey) of Ballygar, a hard-knocks community in Dublin, who have one tantalizing dream: to win a pilgrimage to the sacred French town of Lourdes, that place of miracles that draws millions of visitors each year. When the chance to win presents itself, the women seize it. However, just before their trip, their old friend Chrissie (Linney) arrives in Ballygar for her mother’s funeral, dampening their good mood and well-laid plans. The women secure tickets and set out on the journey that they hope will change their lives for the better.

Rated PG-13 for thematic elements and some adult language

(8) THE MIRACLE CLUB | Official Trailer (2023) – YouTube

POSITIVES

Absolutely no effort goes wasted in properly channeling the distinct place and time that the story resides from, which helps to cement the idealism of conservative traditionism within the many Irish households. Whether in the on-site shooting location of Dublin, Ireland breeding breathtaking scenery throughout the film’s gorgeous cinematography, or the production values paid to wardrobe and set decoration, which emulate a vintage essence that feels prominent without feeling distracting, every valued element is truly transformative, and with O’Sullivan’s needed expertise behind the direction of the storytelling, the film permeates a sweetly sincere side to life that could’ve easily gotten away from him, while juggling religious ideas and sentiments. This is where I commend the film the loudest, as it does pertain to religion and the allure of miracles in their grandest form, but a responsible illustration and vital message provides comfort in the many aspects of our lives that we daily take for granted being miracles in their own right. The film doesn’t use religion as a crutch of enticing propaganda, and instead brilliantly conveys it as a device of appreciating the elements of consistency surrounding us, whether it be in a loving family or dedicated friends, the latter of which dominating the forefront of O’Sullivan’s masterful approach. For those leading ladies, the film is greatly valued by emotionally subdued, yet endearingly stimulating performances from a rich trio of decorated actresses in Linney, Bates and Smith, whose commitment to characters and hefty individual conflicts help to supplant a stern nuance to their portrayals that left me firmly invested in each of their dynamics. Linney in particular feels poised for the same dramatic unraveling that she has made a career out of, but her steady composure maintains the emphasis in the world-shattering circumstances surrounding her, but with an evolving tenderness that serves as the backbone for this very frail and emotionally vulnerable group of friends. Bates and Smith are also once more reflective of their national treasure status, both with the expansive consistency of the former’s believable Irish accent, and the latter’s unshakeable charisma, which leads to more than a few meticulously timed spurts of comedic levity. Each of the ladies’ unique dynamics brings with them a lived-in approach of variance between the dialogue and body language of interactions that feels ripe with humanity and believability, all with moments of screen shine for each of them that essentially does cement this as an ensemble-first experience that compliments the film’s warm-hearted personality.

NEGATIVES

As for dwindling returns, there are a few noteworthy exceptions that keep “The Miracle Club” from truly reaching an elevated note of inspiration, beginning with the lack of consistency from the editing techniques, which trivializes the movie’s pacing with an undercutting element of intrusion throughout. It’s tough enough that this film telling a meaningful story is limited by an 85 minute run time, with many character evolutions to properly nail, but when that hinderance lends itself towards the complexion of the editing, it forces the dialogue to often work overtime in properly filling in the gaps, in turn undercutting some vital moments of storytelling that never lead to valued pay-offs. Sure, if the audience is paying attention firmly enough, then they could probably follow along faithfully, but considering so much of Linney’s character in particular was conflicted with cold shoulders from both Bates and Smith’s respective characters, only one of them was properly addressed, while the other is burdened by a last-second reprieve that feels like an afterthought in hindsight. Beyond the rushed rampage of the pacing, I also found the film to be free from a compelling narrative, which will ultimately test the patience and interests of its audience. Essentially speaking, all of the conflicts for the film pertain internally to the characters, so the stakes and circumstances often feel too small scale to feel cinematic, especially since the direction of those arcs feel plagued by predictability that it can’t ever properly shake. So if you’re not completely intrigued by these characters and their personalities, I can see the film not as appealing, especially in expecting dramatic tension from so many gifted actresses. Finally, while most of the humor effectively lands in the subtle ways it’s inflicted, one aspect pertaining to showing the husbands in the wives household jobs left a bad taste in my mouth, especially since the chores they’re doing aren’t anywhere among the most difficult that pertained to women’s daily routines. I can commend the movie for respecting women in a way that illustrates their importance to a family’s household, but when it comes at the integrity of significant others who are too stupid to change a diaper or carry bags of groceries (I’m not kidding), it becomes a bit cartoonish in the confines of so many characters ripe with humbling humanity, in turn hammering home the point that takes far too much attention away from the aforementioned limited female narrative.

OVERALL
“The Miracle Club” is inspired by a woman’s touch in the talented trio of Linney, Bates and Smith at the heavenly helm, but unfortunately feel confined by tightly compressed storytelling and overwhelming predictability that dull its rich message to mediocre waters. While far from offensive, the film’s surface level exploration underwhelms what is a terrific tale of togetherness in friendship, leaving this religiously light biopic free from the kind of miracle that could’ve elevated it to the next level.

My Grade: 6/10 or C+