Since 2019, a production company by the name of Kingdom Story has set about establishing itself as something of a player in the crowded field of faith-based entertainment, having dipped its toe into the world of film by adapting a handful of true-life narratives and soon-to-be-released original content, all of which have seen unexpectedly wide release thanks mainly to a partnership with media giant Lionsgate. Covering a range of topics from Christian music biopics to the life of former NFL quarterback Kurt Warner, “Ordinary Angels” easily finds a spot on the list, with a premise inspired by actual events that appear perfect for the Kingdom Story family tree but without the tendency to drift into the realm of heavy-handed messages one might be expecting.
READ MORE: ‘Ordinary Angels’ Trailer: Hilary Swank Wants To Help A Family In Upcoming Drama
The story, by the way, transpires in mid-1990s Louisville, revolving mainly around Ed Schmitt (Alan Ritchson), a blue-collar husband and father of Ashley (Skywalker Hughes) and Michelle (Emily Mitchell). His seemingly average existence, however, becomes almost immediately upended following the passing of his wife in the opening scenes, now thrusting Ed into not only providing sole care for his daughters (with assistance from Nancy Travis’ quip-heavy mother, Barbara) but also tending to Michelle’s seemingly endless amount of liver-related health issues that will, sooner as opposed to later, require a transplant. With a mountain of bills threatening to collapse upon the burly shoulders of the elder Schmitt, it’s time for Sharon Stevens (Hilary Swank) to enter the party, armed with an overabundance of Southern sass and motivation to help the Schmitts weather the storm, deal with their financial burdens and learn something about each other in the process. It’s an after-school Lifetime movie by way of a Hillsong church lobby, only touching on the man in the sky from time to time and letting the characters do the heavy lifting.
Though the film may essentially sit on the throne of nonfiction, liberties still seem to have been taken in the production, many of which could receive a pass as having simply been a real-life moment but nonetheless feel like more work was needed on behalf of the writer Kelly Fremon Craig (“The Edge of Seventeen, ““Are You There God? It’s Me, Margaret”), here assisted by actress/novelist Meg Tilly. The impetus for Sharon’s desire to assist in the Schmitt family plight sits somewhat out of left field; an establishing scene finds Sharon enjoying a night out, downing drink after drink before awakening the next morning to the bleary sight of her friend Rose (Tamala Reneé Jones), having helped her home following such a bender. These moments will, until roughly the halfway mark, stand as the few examples of Sharon’s alcoholism, something that likely needs more foundational screentime but is quickly tossed aside in favor of another left turn when a routine beer run later that day sees Sharon read about the Schmitts in a local newspaper. It’s this that serves as the inspiration for Sharon’s plan to entrench herself in the lives of the beleaguered Schmitts as she sets about organizing fundraising campaigns and putting her career as a hairdresser on hold so as to dedicate as much of her time to the situation as the film will allow. Just as swiftly does a dynamic between Sharon, Ed, and the girls establish itself, prompting Ritchson to inject Ed with more quiet despondence than one might anticipate from everyone’s favorite Reacher; scenes where his daughters ask about the whereabouts of their departed mother are undeniably rich in emotion, while Swank and Ritchson’s beautifully off-kilter rapport teeters on the edge of will they-won’t they territory but fortunately never fully makes the leap. 
It’s this back-and-forth, however, that could be labeled as fully responsible for much of the near-two hour runtime; indeed, the temptation to check the remaining minutes remains high throughout. Luckily, the film somehow allows Ritchson and Swank to completely disappear into their respective roles, with both displaying an unexpected level of commitment to character; sure, Swank’s accent dominates roughly every scene, unintentionally branding her with the feel of a rejected audition for “Sweet Home Alabama, “but when the audience least expects it, a moment materializes that propels Sharon from caricature to something genuine. Sharon’s inevitable relapse halfway through this escapade is one such scene, if not one of the film’s most moving, though this moment still manages to raise an eyebrow as her son, seen just twice and mentioned only slightly more, seems to have been a partial motivator in her momentary decline. It’s a component likely deserving of its own film, as much as her limited scenes with Jones’ Rose. Plus, despite Ritchson’s dedication, the film appears bent on limiting Ed to scenes showing him rushing between work, home, and the hospital, and when a third-act blizzard arrives to set the stage for the strangely tense climax does the tone shift once again. By this point, gazing at the clock may be unavoidable.
Jon Gunn, a Kingdom Story veteran who previously served as a writer on the company’s prior efforts “I Still Believe, ““American Underdog “and “Jesus Revolution,” takes his moment in the director’s chair by giving his cast the opportunity to shine; though the onscreen events may be working against them all, there’s no denying their devotion. The goblet of ’90s references never overflows, the overall look is without concern, and much of what happens throughout may be predictable but inoffensive. It’s feel-good at its best, and in this day and age, is anything more even necessary? [B-]