The Miracle Club

Director Thaddeus O’Sullivan guides The Miracle Club efficiently, successfully telling a period story of four women who bond over the course of a pilgrimage to the French town of Lourdes in search of their own miracles to lend guidance for their medical conditions. Although the story’s devoutness is prominent, it’s mild compared to the focus on the film’s relationships.

With a primary cast that includes Kathy Bates, Maggie Smith, and Laura Linney, the performances do not disappoint. But, at the same time, O’Sullivan isn’t asking his cast to flex their acting muscles too much. The screenplay hits the right emotional chords, yet goes through conventional, basic self-redemptive arcs; following characters who are holding contempt for others to drop their defences and become more heartfelt by the end credits. The pleasant scenery is always on display, including the mannered indoor settings. What else is there? What else can I say to convey just how polished and professional the film is and, at the same time, how utterly forgettable it also is? I kept thinking of modest movies like Life’s a Breeze or June Again, titles that were tame but also offered so much uniqueness to their characters and story.

The Miracle Club is fine but, considering the talent involved, I don’t think it’s a big ask to have wanted more than just “an ideal Sunday matinée”. With its comfortable faith-based tone, a running message of forgiveness, and dependable performances, you can already smell the aroma of popcorn and earl grey tea.


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Addison Wylie: @AddisonWylie

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