Faith-based films have become popular in the last few years and has created some of the biggest box office hits.

"Little Boy" is the latest entry in this genre and it brings together an impeccable cast in a story that is over-the-top, manipulative and ultimately contrived.

The film, starring newcomer Jakob Salvati, tells the story of Pepper, an eight-year-old boy who is willing to do whatever it takes to end World War II so he can bring his father home. The story is well-intentioned and it reveals a tender relationship between a father and son.

However, the problem is that film tries to inundate the audience with messages of faith that will undoubtedly turn many viewers away. For instance, every single time Pepper doubts himself, the characters repeat the line "Do you believe we can do this?" The line is so overused it almost feels like the writers and director are trying to preach instead of show or tell us a story of overcoming obstacles.

The parable of "Faith can move mountains" is also repeated to boredom, losing its power with each repetition. At one point in the movie, Pepper's faith "moves a mountain," which ends up setting off an earthquake. Then Pepper is also credited for setting off the Hiroshima and Nagasaki atomic bombs. The reaction of the village people is over the top and they end up praising the boy as a God and a savior who ends the war. However, what the films forgets to mention is the destruction and the amount of innocent lives that are killed by bomb he "sets off," thus unknowingly demonizing its God as a murder. 

The story also has way too many plots to follow. Monteverde and Pepe Portillo forget to explain why it is so important that Pepper is little for his age as it only serves to make him an outsider and be ridiculed. The scenes where Pepper is bullied become too violent and one questions why a loving mother as Emma, would allow the bully torturing her son to dine with her family. One also questions how a whole town would discriminate a boy for being so little especially because Pepper has never done anything wrong. Either the townspeople are completely ignorant or the writers want the audience to create an unrealistic situation to manipulate viewers into feeling bad for Pepper and hope he succeeds.

Racism is also tackled as a Japanese man Hashimoto (Cary-Hiroyuki Tagawa) is constantly rejected by the townspeople and forced into isolation. However, the character feels more like a plot device to help Pepper feel loved. Hashimoto also helps Pepper accomplish everything he needs to do get his father back. The script also makes it seem that only way to portray racism is through discriminating language like "Jap" or denying him food. It feels too forced and not ingrained in the reality of it time.

Another plotline that never really goes anywhere is the one between Emma, Pepper's mother and Dr. Fox (Kevin James). Dr. Fox is after Emma but she pays no attention to his intentions. The plotline is glanced over and ultimately does not tie into the overall themes of the movie.  

The war sequences are also an issue as they never really depict the horrors of war. They are intercut between Pepper getting beat up making them banal and unimportant to the story. They also look too clean and glossy to be believable.

The camera work is fine with no memorable shots and Monteverde is persistent on shooting in closeup to emphasize the crying from his cast.  While it is shot on 35mm film, the overall over-saturated look gives it a digital feel that decimates the film look.   

The music by Stephan Altman and Mark Foster is yet another issue as it tells the audience what to feel and think. The score brings elements from the western genre, but also has soaring moments that are far too mundane and clichéd. 

What makes the film tolerable is the cast. Emily Watson brings subtly to her Emma but one wishes she had a larger part and more screen time. Cary-Hiroyuki Tagawa is moving and brings dignity to the role Hashimoto. He never gives into the excessive emotions and through his understated movement and facial expressions, Tagawa allows the audience to understand his suffering,

David Henrie's London, Pepper's brother, is fierce and tortured throughout and Henrie is solid as the volatile brother. However, the character's violence and drinking feels too formulaic and underdeveloped.

Tom Wilkinson makes a brief appearance as Fr. Oliver and elicits warmth. Jakob Salvati as Pepper gives a solid first performance while Michael Rappaport portrays James Busbee, Pepper's father, with tenderness.

Those looking for a feel good ending will definitely get one. However, those looking for a compelling piece will end up bored and frustrated by the nonsensical conclusion that feels artificial and forced. Overall, no matter how many great actors are involved, this movie lacks a coherent script.