‘Drummer Boy’ Review: Love, Family and Revolution Conflict at Musket’s Point in a Swoony Period Musical

‘Drummer Boy’ Review: Love, Family and Revolution Conflict at Musket’s Point in a Swoony Period Musical hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Nov 6, 2026 9:49am PT ‘Drummer Boy’ Review: Love, Family and Revolution Conflict at Musket’s Point in a Swoony Period Musical 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. By Dennis Harvey Plus Icon Dennis Harvey Film Critic Latest ‘The Influencer Project’ Review: Found Footage Terror Takes a Tepid Danish Holiday 1 month ago ‘The Fix’ Film Review: Ex-CIA Operatives Try To Rescue an Iranian Dissident in a Polished but Uneven Action Thriller 2 months ago ‘The Runner’ Review: Gal Gadot Is a Mother on a Rescue Mission in an Energetic but Uninspired Amazon Thriller 2 months ago See All Add us as a Google Preferred Source Comments 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.

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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. “Hamilton,” it’s not.

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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.

Related Stories Box Office: ‘La Bola Negra’ Scores $277,500 From Four Theaters as Netflix Reports Grosses for First Time Ever Alex de la Iglesia on His Upcoming Chilean Shoot ‘The Misunderstanding’: ‘Reality Has Become My Parallel World’ “Drummer Boy” will largely appeal to preexisting fans of Grammy-winning Christian music act For King + Country — comprising brothers Luke and Joel David Smallbone , the latter of whom both stars and co-directs with third Smallbone brother Ben. 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 h

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