This latest collaboration between Angel Studios and Christian pop group For King + Country is a pleasant if simplistic take on the United States’ foundational struggle for independence. Arriving a bit late to ride the fizzled momentum of the nation’s semiquincentennial, and a bit early for Christmas, patriotic musical “Drummer Boy” nonetheless should strike a chord with Christian audiences. It’s the first feature for several collaborators since 2024’s “Unsung Hero,” one of the bigger “faith-based entertainment” hits in recent years, though this tale set at the outset of the Revolutionary War is a considerably different enterprise.
Still, for those seeking a more sentimentally earnest take on early U.S. history with a more vanilla contemporary-pop sound, the latest release from Angel Studios provides a confident, mostly pleasing throwback to original screen musicals of yore. Viewers preferring wholly secular entertainment may find it on the hokey side, but should appreciate that religious messaging is relatively soft-pedaled here in favor of a more generalized plea for societal “forgiveness and reconciliation” — something arguably well-timed in the immediate wake of a contentious midterm election. A 1762 prologue finds two families sailing from England to its colonies across the Atlantic.
Their children are about the same age, but otherwise the groups are quite different: The Clems (led by Ioan Guffudd’s father Nathaniel) are humble folk hoping to “truly be free” in a new land hopefully void of class and other divisions. Whereas widowed Lord Balfour (Charles Esten) fully expects to carry his homeland’s aristocratic traditions abroad, complete with an apparent Black slave for his hoity-toity young daughter. Once in sight of land at last, the ship is attacked (by the French, as this is during the French and Indian War), with consequences falling hardest on the Clems.
Twelve years later, both clans have settled in Kingston, New York, that state’s eventual first capital. The Clems have established a grain mill, worked by mother Rachel (Melora Hardin) with now-grown sons Jeremiah (Joel David Smallbone) and Benjamin (Lucas Leach) — the latter still lamed by their fateful ocean crossing. Far above them in social station are the Balfours, who exert considerable political influence from a stately manse.
There, princessy only-child Elisabeth aka Lizzie (Beth Easdown) weighs her options as the region’s most sought-after debutante, while attended by servants including Emmaline (India Brown) and older Margaret (Beverley Knight). The latter pair hope one day to buy their liberty, Emmaline also pinning romantic hopes on Jeremiah, who once secretly taught her to read and write. For the time being, however, he only has eyes for pretty, fickle Lizzie. (An early scene in which she’s belle of a small ball provides the film’s sole major dance opportunity.) Soon they’ve all got more pressing concerns, as excess taxation and other colonialist abuses from distant England’s rule trigger the War for Independence.
Citizens are bitterly divided, rebel-friendly Ben’s big mouth getting the Clems branded as “traitors” by those loyal to the Crown. Lest that kill off the family business, Jeremiah makes amends by signing up as a British Army redcoat under Lord Balfour’s command. They’re soon sent off to fight, and in angry pique Ben too leaves home, fast landing in the company of Patriot colonist forces led by Scotsman Major Ambrose (Iain Glen).
Extract — continue reading at the source.
