It’s probably unfair, waiting for “Ordinary Angels” to lay it on really thick.
Excessive drinking is bad. Faith in God is good.
And sure, those ideas come across in the latest film from Kingdom Story Company, a Lionsgate partner specializing in Christian films.
Now, to be fair to Kingdom, we certainly enjoyed, at least to a reasonable degree, “American Underdog,” the 2021 biopic about Super Bowl-winning quarterback Kurt Warner.
“Ordinary Angels” is even stronger.
This tug-at-your-heartstrings — heck, downright moving — drama taking a few liberties with a real story about a young girl in desperate need of a liver transplant and a struggling hairdresser who made it her mission to help make that happen is, unquestionably, a winner.
A lot of people deserve praise for the strength of “Ordinary Angels,” starting with director Jon Gunn, the co-writer of Kingdom’s 2023 big-screen offering, “Jesus Revolution.”
‘Jesus Revolution’ a sanitized, scattered story about religious movement | Movie review
And then there are the film’s co-writers, actress and novelist Meg Tilly and Kelly Fremon Craig, the writer-director of last year’s absolutely adored adaptation of Judy Blume’s novel “Are You There God? It’s Me, Margaret.”
Last but not least: the solid cast, led by a terrific Hilary Swank, a force of nature as the aforementioned hairdresser.
When we first encounter Swank’s Sharon Stevens — in 1993, at a crowded bar in Louisville, Kentucky, where the Black Crowes’ “Hard to Handle” is blasting — she’s a mess. Although she’d assured her friend and coworker Rose (Tamala Jones) they were going for just one drink, Sharon’s out for a good time. How good? When Brooks & Dunn’s country anthem “Boot Scootin’ Boogie” starts playing, she jumps on the bar to dance.
Her fall, both literal and figurative, isn’t hard to predict.
The next morning, Rose insists on taking her to an Alcoholics Anonymous meeting. While Sharon refuses to state at that meeting that she is an alcoholic, another person’s address to those gathered, in which he encourages them to find a purpose bigger than themselves, speaks to her.
When she reads in the newspaper about a 5-year-old girl, Michelle Schmitt (Emily Mitchell), who’s recently lost her mother and is fighting for her own life, Sharon feels compelled to get involved.
Not exactly dressed for the occasion, she crashes the funeral for Theresa Schmitt (Amy Acker) — whom the viewer gets to know briefly in the movie’s opening minutes, which jump from the time of Michelle’s birth to Theresa’s last moments with loving husband Ed (Alan Ritchson) — making friends with Michelle and older sister Ashley (Skywalker Hughes) and altogether perplexing their father.
Although she calls herself “stupid” for attending the event, she nonetheless remains determined to help and soon injects herself into the Schmitt family dynamic, which is OK with the girls and with Ed’s mother, Barbara Schmitt (Nancy Travis), who isn’t about to turn away any assistance. After all, Ed, a roofer, is drowning in debt from medical bills and isn’t exactly in a position to insist Sharon mind her own business.
Sharon pours her booze out and pours her energy into helping the Schmitts, working to improve Ed’s professional situation, fighting to lower his bills and more. Rose sees this as more addict behavior, as Sharon is so focused on the Schmitt’s that she is letting her work life suffer.
Sharon is, however, also trying to reconnect her son, Derek (Dempsey Bryk), but he isn’t ready to forgive her for past failings.
“Ordinary Angels” hits the major story beats you expect, including the incident that infuses the requisite fresh conflict as the film hits its home stretch. That the movie is predictable isn’t a problem, though, with the deft Gunn behind the camera and Swank in front of it.
The latter, whose career highlights include Academy Award-winning performances in 1999’s “Boys Don’t Cry” and 2004’s “Million Dollar Baby,” probably won’t win an Oscar for “Ordinary Angels,” but she turns in dynamic work. Within a narrative in which blizzards play important roles, she creates a hurricane with Sharon. At the same time, the character remains relatable and believable.
Swank is nicely balanced by “Reacher” star Ritchson, who brings that hit Prime Video series’ titular character’s lack of interest in being chatty to Ed. (Think Jack Reacher without the frequent revenge-driven violence and, perhaps, not all of the muscle mass.) Given the circumstances, it can be frustrating when Ed is resistant to help from Sharon, but we can buy it thanks to the authenticity Ritchson gives to Ed.
Last but not least — and even though Gunn (“The Case for Christ”) does finally lay it on a little thick — “Ordinary Angels” sticks the landing, celebrating the people who came together for this family in real life.
You need not have faith in the extraordinary to enjoy “Ordinary Angels,” but be prepared to walk away with a stronger belief in the power of the human spirit.
Where: Theaters.
When: Feb. 23.
Rated: PG for thematic content, brief bloody images and smoking.
Runtime: 1 hour, 56 minutes.
Stars (of four): 3.
