"The Miracle Club" possesses an allure reminiscent of an earlier time. Unfolding in Ireland circa 1967, this cinematic tale features a trio of internationally acclaimed actresses (none Irish-born). It has authentic period details, breathtaking visual storytelling, and heartening character growth that underlines the enduring appeal of storytelling tropes. Emmy-nominated director Thaddeus O'Sullivan's scrupulous attention to the nuances that abound in the script by Jimmy Smallhorne, Timothy Prager, and Joshua D. Maurer, constructed upon a narrative by Smallhorne, is remarkable, even if plot revelations are fairly predictable. "The Miracle Club," long envisioned, has finally been actualized with stars Maggie Smith, Kathy Bates, and Laura Linney.

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Smith's character, Lily, and Bates' character, Eileen, are inseparable companions. They reside in a modest suburb of Dublin, a neighborhood where familiarity is the rule, gossip abounds, and disagreements span generations. Along with their much younger friend, Dolly (Agnes O’Casey), they enter a talent contest held by the local church. The grand prize? An opportunity to visit the French holy site, Lourdes. This is a destination each of them, despite their longstanding disputes, has dreamt of. They each crave a miracle: Eileen quietly struggles with a potentially malignant lump she discovered but hasn't seen a doctor for, while Lily is haunted by the loss of her son Declan, who tragically drowned years prior. Dolly, in contrast, prays for her mute son's (Eric Smith) recovery.

The film swiftly familiarizes us with the daily tempo of this tight-knit community. Its vibe radiates a comforting warmth and a sense of belonging. John Conroy's cinematography begins with a majestic panorama of Ireland's verdant landscapes and azure ocean. It is contrasted with the equally captivating intimacy of their humble neighborhood. John Hand's production design skillfully renders the homes authentically lived-in, adding a touch of homely realism to the narrative.

The arrival of Chrissie (Linney), a figure from Lily and Eileen's past, disrupts their peace, leading to suppressed secrets resurfacing. She unexpectedly returns to town, just as the talent show is about to commence, after years of estrangement. Eileen struggles to face her; Lily meets her with disdain. Dolly, unaware of their shared history, readily embraces Chrissie. What follows is an unexpected journey to Lourdes, filled with revelations, prayers, and hopes for personal healing and spiritual deliverance.

The narrative progression may seem fairly predictable, but the performances by Bates (whose Irish accent is slightly inconsistent) and Smith (who nails the accent) offer layers of depth and complexity. Linney's portrayal of a character who seldom reveals her inner world maintains intrigue until her vulnerabilities gradually surface during their sojourn in Lourdes. Smith's portrayal is particularly poignant, her guilt-ridden eyes reflecting her inner turmoil, yet her imperious demeanor seeks to veil it. It's tempting to underappreciate Smith's performance given her usual brilliance, but each role she plays brings fresh surprises.

The film contains some deeply emotional scenes (O'Casey's portrayal is especially touching), yet when the "miracles" begin to occur, the narrative risks becoming overly simplistic. It shines brightest when exploring the emotional dynamics and underlying pain of the central women. Less successful are the cliched scenes depicting the inept men left at home, struggling with chores traditionally assigned to women. Such scenes, although fitting the period setting, feel stale and uninspired.

However, the film is worth the wait for Smith's performance of a single line: "God punished me for taking him away like that." It's a moment that moves the narrative from the superficial to profound depth, resonating with raw emotion from the depths of her being.