While the "faith-based film" has evolved over the years, there's one tried-and-true formula this particular type of movie can't quit: an improbable true story about a sick child in a perilous situation starring a popular actress (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 specific beliefs. Religious organizations offer emotional and material support to the characters, but mainly exist in the background, so the message is not overly preachy.

Directed by Jon Gunn, faith in humanity comes to the fore In "Ordinary Angels," although a church parking lot does play a pivotal role. The movie is an adaptation of the true story of young Michelle Schmitt, who was once known as the "Snow Baby of Louisville."

But before we get to the snow, we've got to get to know hairdresser Sharon Stevens (Hilary Swank), who wrote a memoir titled "Ordinary Angels" about her life and Michelle. Though little Michelle's incredible journey offers the climax of the movie, it's Sharon's redemption tale that offers the dramatic arc of the feature film.

We meet Sharon as she's slamming down shots in Louisville, Ky., bar; her hair is the only thing reaching for the heavens. After one too many nights of hard drinking, she attends a an AA 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 little girl who has lost her mother and desperately needs a liver transplant. She becomes obsessively, fixated on how she can help Michelle, showing up unannounced at her mother's funeral service and bossily inserting herself into the young girl's life, much to the consternation of Michelle's stern father (Alan Ritchson).

Swank does a sort of "Erin Brockovich" thing here, powering through the world with big hair, higher heels and sheer audacity. For much of the film, you will be simply mystified as to why she's so taken with Michelle's plight.

Kelly Fremon Craig and Meg Tilly's script holds back certain aspects of her backstory to use later as reveals or points of conflict, but it doesn't help us to go along with her emotional journey.

Ritchson delivers the only authentic performance for the situation as the befuddled Ed, who objects to Sharon's constant meddling. But he can't turn up his nose at the money and favors she pulls with her bulldog determination.

Swank is appealing, and amusing, decked out in fringe and affecting a twang, but it in no way feels real; it's more of a fun character performance. Ritchson, on the other hand, demonstrates a softer, more expansive side to the tough guy persona he's perfected on "Reacher."

Where "Ordinary Angels" stumbles is taking one unique human interest story from 1994 — in which Louisville rallied around Michelle Schmitt to help get her to an awaiting liver transplant during a raging 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.

The true story is an inspiring tale of community care and mutual aid, the kind of thing that feels rare, and rarely celebrated, these days, but as usual, real life is more affecting, more nuanced, and yes, stranger than fiction.

This may be a tale of "Ordinary Angels," but unfortunately, the film itself is far from extraordinary.

'Ordinary Angels'

2 stars (out of 4)

Rated: PG for thematic content, brief bloody images and smoking.

Where: In theaters.