'Ordinary Angels' review: Swank seeks redemption

While the “faith-based film” has evolved over the years, there is one tried-and-true formula that this particular type of film cannot abandon: an unlikely story about a sick child in a dangerous situation starring an actress popular (see: Jennifer Garner in “Miracles From Heaven”, Chrissy Metz in “Breakthrough”, etc.). In these types of films, the drama remains focused on human kindness and community rather than specific beliefs. Religious organizations offer emotional and material support to the characters, but they exist mostly in the background, so the message isn't overly preachy. But you'd have to be a monster to resist the poignant power of a vulnerable child in a truly atrocious setting.

In “Ordinary Angels,” directed by Jon Gunn, creator of 2017’s “The Case for Christ” and producer of 2023’s “Jesus Revolution,” it is faith in humanity that comes to the fore, albeit in a church parking lot. plays a fundamental role. in this adaptation of the true story of young Michelle Schmitt, who was once known as the “Louisville Snow Baby.”

But before we get to the snow, we must meet hairstylist Sharon Stevens, played by two-time Oscar winner Hilary Swank. She wrote a memoir titled “Ordinary Angels” and Kelly Fremon Craig (“Are You There God? It's Me, Margaret”) and Meg Tilly wrote the screenplay. Although little Michelle's incredible journey provides the film's climax, it is Sharon's redemption that provides the film's dramatic arc.

We meet Sharon while she drinks and dances on top of a bar in Louisville, Kentucky in 1993, where her hair is the only thing that reaches to the sky. After too many nights of heavy drinking, her friend Rose (Tamala Jones) drops Sharon off at an AA meeting, where her sobriety isn't necessary, but the exhortation to “find a reason” is. 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. He becomes obsessively, almost bizarrely, obsessed with how he can help Michelle Schmitt, showing up unannounced at her mother's funeral and bossily inserting himself into the young woman's life, much to the dismay of Michelle's stern father, Ed (Alan Ritchson). , a roofer.

Swank is doing a bit of an “Erin Brockovich” here, striding through the world with long hair, higher heels, and sheer audacity. For much of the film, you'll simply be baffled as to why this woman is so enthralled by Michelle's plight: her behavior is downright bizarre and the character proudly knows no bounds.

The script withholds certain aspects of her backstory to use as reveals, but that strategy doesn't help us follow her emotional journey, as it seems strange that she would show up at Schmitt's door and hint at his financial situation. , fundraising for Michelle's medical bills. Ritchson gives the only authentic performance for the situation as the bewildered Ed, who objects to Sharon's constant meddling, although he cannot disdain the money and favors her pulling it with her bulldog determination.

Gunn opts for a raw, dark look to give the film an air of authentic social realism. Cinematographer Maya Bankovic photographs dimly lit hospital hallways; The honky tonks are bathed in devilish red gels. There are some legitimately beautiful shots in the film: Ed silhouetted against dim lighting while working on a rooftop; the headlights passing through a snow storm.

Swank is attractive and funny, fringed and affecting an accent, but in no way does he feel real; He's more of a fun character performance. Ritchson, on the other hand, demonstrates a softer, more expansive side to the tough-guy character he perfected in “Reacher.” While it's clear he can go beyond what he can do here, it's nice to see him cast in bigger roles.

Where “Ordinary Angels” stumbles is by taking a one-off human interest story from 1994, in which Louisville teamed up with Michelle Schmitt to help her get a liver transplant during a blizzard, and turning it into the story of a woman, Sharon. The character's motivations don't add up and no amount of showy courage can make it work. The true story is an inspiring story of community care and mutual aid, the kind of thing that feels strange and is rarely celebrated these days. But, as always, real life is more moving, more nuanced and, yes, stranger than fiction. This may be an “ordinary Angels” story, but unfortunately, the film itself is far from extraordinary.

Katie Walsh is a film critic for the Tribune News Service.