Charming is not a description one necessarily associates with contemporary cinema.

Noisy, eye-popping, thrilling, yes ... especially concerning comic-book superhero, action and horror films.

The description “charming” applies to “The Miracle Club.”

If the fashion world has its “fast fashion” and “slow fashion,” the cinema can have its “slow cinema.” “The Miracle Club” is slow cinema. Some miracles take time.

“The Miracle Club” takes its time on the journey from the area of Dublin, Ireland, to Lourdes, France, all the better to spend time with the film’s protagonists, a quartet of fine actresses: Laura Linney, Kathy Bates, Agnes O’Casey and Dame Maggie Smith.

In “The Miracle Club,” it’s 1967 in the area of Dublin, Ireland, and Eileen Dunne (Kathy Bates) longs to travel to Lourdes, which Christian Catholic believers revere.

Lourdes is where, in 1858, a peasant girl, Bernadette Soubirous, claimed to see Marian apparitions, i.e., images of Mother Mary, the Biblical mother of Jesus. Bernadette was canonized. Traveling to the Sanctuary of Our Lady of Lourdes has become a religious pilgrimage.

At the local Catholic parish, Eileen Dunne (Kathy Bates), Lily Fox (Maggie Smith) and Dolly Hennessy (Agnes O’Casey) enter a talent contest, singing “He’s So Fine” (The Chiffons, 1963) in an attempt to win tickets for a trip to Lourdes. They are encouraged to enter the contest by the parish’s kindly priest, Father Dermot Byrne (Mark O’Halloran).

Each woman has her own reason to want a miracle in Lourdes. Eileen Dunne seeks a restoration of faith. Lily Fox hopes for closure over the many-years-ago death of her son. Dolly Hennessy hopes that the five-year-old son, Daniel (Eric D. Smith), of her and George Hennessy (Mark McKenna) will finally talk.

The plans don’t please the husbands. Lily Fox upsets her husband Tommy Fox (Niall Buggy). Eileen Dunne upsets her husband Frank Dunne (Stephen Rea). Dolly Hennessy upsets her husband George Hennessy (Mark McKenna).

Along for the spiritual sojourn to Lourdes is Chrissie Ahearn (Laura Linney), who wants to absolve herself of a deep hurt from her past and perhaps achieve peace with Lily Fox.

Director Thaddeus O’Sullivan (director: “December Bride,” 1990; “Nothing Personal,” 1996; “Stella Days,“ 2011; Primetime Emmy Award nomination, miniseries, “Into The Storm,” 2009) has a quiet touch, letting the screenplay by Joshua D. Maurer (Primetime Emmy Award nominations, producer: “Georgia O’Keeffe,” 2010; “And Starring Pancho Villa As Himself,” 2004; “Introducing Dorothy Dandridge,” 2000, in his theatrical motion picture screenplay debut; Timothy Prager (screenwriter, TV’s “Robin Hood,” 2006) and Jimmy Smallhorne (screenwriter: “2by4,” 1998) unfold casually and letting the actors take command of their characters’ stories.

Cinematographer John Conroy uses gentle lighting and backlighting to great effect.

The score by composer Edmund Butt conveys a sprightly, fun feeling.

Costume designer Judith Williams sprinkles the cast with the colors of 1960s’ mod fashion, especially for the outfits of Dolly Hennessy (Agnes O’Casey).

Production designer John Hand (“Maudie,” 2016) brings the decade to the fore.

The lead actresses are deserving of Oscar nominations.

Laura Linney (Three-time Oscar nominee: actress, “The Savages,” 2008; supporting actress, “Kinsey,” 2005; actress, “You Can Count On Me,” 2001) has an anguished vulnerability.

Kathy Bates (Oscar recipient, actress, “Misery,” 1991; Four-time Oscar nominee, supporting actress: “Richard Jewell,” 2020; “About Schmidt,” 2003; “Primary Colors,” 1999) is hilarious in her demandingly-strong way.

Agnes O’Casey (“Lies We Tell,” 2023; TV’s “Dangerous Liaisons,” 2022; TV’s “Ridley Road,” 2021) is delightful as the young concerned mother.

The film is worth seeing for the performance of Maggie Smith (Oscar recipient, supporting actress, “California Suite,” 1979; actress, “The Prime of Miss Jean Brodie,” 1970; Five-time Oscar nominee, supporting actress, “Gosford Park,” 2002; supporting actress, “A Room With A View,” 1987; actress, “Travels With My Aunt,” 1973). Smith has a droll humor and a wink in her eye.

“The Miracle Club” is not only charming, it is unassuming in its charm. It lets the movie-goer in on the story, but only so far. And that’s fine.

Someday, “The Miracle Club” will be regarded as a minor classic.

Until then, embark on a pilgrimage of your own to see “The Miracle Club.”

“The Miracle Club,”

MPAA rated PG-13 (Parents Strongly Cautioned Some material may be inappropriate for children under 13. Parents are urged to be cautious. Some material may be inappropriate for pre-teenagers.) for thematic elements and some language; Genre: Comedy, Drama; Run time: 1 hour, 30 minutes. Distributed by Sony Pictures Classics.

Credit Readers Anonymous:

“The Miracle Club” was filmed in Ireland.

At The Movies:

“The Miracle Club” was seen in Theatre514, Civic Theatre of Allentown.

Theatrical Movie Domestic Weekend Box Office,

Oct. 19 - 22: “Taylor Swift: The Eras Tour” continued at No. 1 two weeks in a row, the first concert film to do so, with $31 million in 3,855 theaters, $129.7 million, two weeks, keeping director Martin Scorsese’s “Killers Of The Flower Moon,” starring Leonard DiCaprio and Robert De Niro, opening at No. 2 with $23 million in 3,628 theaters.

“The Exorcist: Believer” dropped one place, $5.6 million in 3,323 theaters, $54.2 million, three weeks. 4. “Paw Patrol: The Mighty Movie” dropped one place, $4.4 million in 3,364 theaters, $56 million, four weeks. 5. “The Nightmare Before Christmas” 30th anniversary re-release, opening, $4.1 million in 1,650 theaters. 6. “Saw X” dropped two places, $3.5 million in 2,756 theaters, $47.2 million, four weeks. 7. ”The Creator” dropped two places, $2.6 million in 2,490 theaters, $36.7 million, four weeks. 8. “A Haunting in Venice” dropped one place, $1.1 million in 1,600 theaters, $40.9 million, six weeks. 9. “The Blind” dropped three places, $1 million in 1,059 theaters, $15.6 million, four weeks. 10. “The Nun II” dropped two places, $887,000 in 1,364 theaters, $85.3 million, seven weeks.

Movie box office information from Box Office Mojo as of Oct. 22 is subject to change

Unreel,

Oct. 27:

“Five Nights at Freddy’s,”

PG-13: Emma Tammi directs Josh Hutcherson and Mary Stuart Masterson in the horror film. A security guard at a children’s pizza entertainment center encounters animatronic angst.

“Freelance,”

R: Pierre Morel directs Alison Brie, John Cena, Alice Eve, Christian Slater and Julianne Arrieta in the Action, Comedy. A security guard and the journalist he guareds run to the jungle during a military coup.

“Miracle In East Texas,”

PG: Kevin Sorbo directs John Ratzenberger, Louis Gossett Jr., Sam Sorbo and himself in the drama. Con men try to get widows to invest in oil wells during the Great Depression.

Movie opening information from Internet Movie Database as of Oct. 22 is subject to change.

Three Popcorn Boxes Out of Five Popcorn Boxes