Misguided focus pulls drama far from being extraordinary
While the “faith-based film” has evolved over the years, there’s one triedand-true formula this type of movie can’t quit: an improbable true story about a sick child in a perilous situation starring a popular actor (see: Jennifer Garner in “Miracles From Heaven”; Chrissy Metz in “Breakthrough”). In this kind of film, the drama remains focused on human kindness and community rather than beliefs. Religious groups offer support to the characters, but mainly exist in the background, so the message is not overly preachy. But one would have to be a monster to resist the heartstring-pulling power of a vulnerable child in a heinous scenario.
In “Ordinary Angels,” directed by Jon Gunn, who also helmed 2017’s “The Case for Christ” and was producer of 2023’s “Jesus Revolution,” it’s faith in humanity that comes to the fore in this adaptation of the true story of young Michelle Schmitt, once known as the “Snow Baby of Louisville.”
Before we get to the snow, we’ve got to get to know hairdresser Sharon Stevens (Hilary Swank). Kelly Fremon Craig (“Are You There God? It’s Me Margaret”) and Meg Tilly wrote the screenplay. Though Michelle’s incredible journey is the climax of the film, it’s Sharon’s redemption tale that offers the dramatic arc of the story.
We meet Sharon as she’s slamming shots and dancing on a bar top in 1993 Louisville, Kentucky. After one too many nights of hard drinking, her friend Rose (Tamala Jones) dumps Sharon at an Alcoholics Anonymous meeting, where sobriety doesn’t take, but the exhortation to “find a reason” does. While picking up a six-pack, Sharon notices a newspaper headline about a girl who has lost her mother and desperately needs a liver transplant. Sharon becomes fixated on how she can help Michelle, showing up unannounced at her mother’s funeral service and inserting herself into the young girl’s life, much to the consternation of Michelle’s stern father, Ed (Alan Ritchson).
Swank is doing an “Erin Brockovich” thing here, powering through the world with big hair, higher heels and sheer audacity. You will be mystified as to why this woman is so taken with Michelle’s plight; her behavior is odd and the character proudly has no boundaries.
The script holds back certain aspects of Sharon’s back story to use later as points of conflict, but it doesn’t help us to go along with her emotional journey, as it’s bizarre that she shows up on the Schmitts’ doorstep and insinuates herself into their financial situation, fundraising for Michelle’s medical bills. Ritchson delivers the only authentic performance for the situation as Ed, who objects to Sharon’s constant meddling, though he can’t turn up his nose at the money and favors she pulls with her bulldog determination.
Swank is appealing, decked out in fringe and affecting a twang, but it in no way feels real. Ritchson, though, shows a softer side to the tough-guy persona he’s perfected on “Reacher,” and even though it’s clear he can stretch further than what he can do here, it’s nice to see him in heftier roles.
Where “Ordinary Angels” stumbles is taking one unique human interest story from 1994 — in which Louisville rallied around Michelle to help get her to an awaiting liver transplant during a blizzard — and making it instead the story of one woman, Sharon. The character’s motivations don’t gel, and no amount of Swank moxie can make it work. This may be a tale of “Ordinary Angels,” but unfortunately, the film itself is far from extraordinary.
MPA rating: PG (for thematic content, brief bloody images and smoking)
Running time: 1:57
How to watch: In theaters