If you have felt visceral hatred for Love Actually for 20 years now, rejoice: there is a new snivelling, almost illogical Laura Linney performance to resent (Linney who, make no mistake, is one of our most empathetic working actors today when used properly). The Miracle Club calls itself “quietly feminist” but not even a stethoscope on the main speakers at Wembley Arena could pick up the supposed nuances of this wet, dreary portrait of lonely and longing women in 1960s Dublin, searching for anything to give their lives meaning, namely a pilgrimage to Lourdes to fix all their ailments.
