“Drummer Boy” is the second 2026 movie from Angel Studios set during the American Revolutionary War, the first being “Young Washington”. But while the two share obvious similarities, “Drummer Boy” has some notable distinctions that set it apart. Look no further than the film’s unique fusion of genres. It’s a historical drama but also a war movie with no shortage of action. There’s even a romantic subplot that fuels several of the story’s bigger themes. But here’s the real kicker – it’s also a musical.

“Drummer Boy” has been a near decade-long effort from brothers Ben and Joel David Smallbone. The directing duo (of the music group For King + Country) work from a script by Richard L. Ramsey to tell a vibrant and moving story about forgiveness, freedom, sacrifice, and the search for significance. The story is unpacked through three distinct perspectives, each highlighting one or more of the film’s core themes. Then there are the musical numbers and their fairly seamless integration into the narrative.

Set on the cusp of the American Revolution, the central story follows Jeremiah Clem (Joel David Smallbone) and his younger brother Benjamin (Lucas Leach). When they were kids, they left England and migrated to America with their father, Nathaniel (Ioan Gruffudd) and mother, Rachel (Melora Hardin). But just as they were approaching land, their ship was attacked by the French and their father killed in front of them. Now several years later, the brothers and their mother run a mill supplying grain to a growing British settlement.

But as tensions peak between the British and the freedom-seeking colonists, the brothers find themselves as odds with the English locals. Jeremiah keeps their opinions to himself in the interest of protecting his family. But after the outspoken Benjamin angers the townsfolk, Jeremiah steps in to prove their loyalty to the crown in the only way he can – by joining the British army. Meanwhile Benjamin secretly sets out to join the early Colonials, seeing it as a chance to finally prove himself.

As the brothers go their separate ways, each must face their own personal trials. For Jeremiah, it’s finding a way to stay true to his convictions while becoming an inspiration to the soldiers on the field. For Benjamin, it’s getting the troops to look beyond his braced leg and see him as a fellow soldier rather than just a drummer boy. Their paths inevitably cross, but it’s their individual journeys that build and defines the dramatic crescendo. “Drummer Boy” is at its best when it concentrates on their stressed family dynamic and wartime drama.

Slightly less effective is the romance. Before heading off to war, Jeremiah grows smitten with Elizabeth Balfour (Beth Easdown), the spoiled daughter of his commanding officer (Charles Esten). But there’s also Emmaline (India Brown), the Balfour’s young slave who he shares a special connection with Jeremiah. The trio’s complicated relationships fuel a romance that sometimes gets stuck on the film’s back burner. Yet they also feed some of the story’s more profound themes. Such as exposing the utter hypocrisy of a war fought for freedom while the vileness of slavery exists in the very same time and space.

“Drummer Boy” looks great, from its period-perfect costumes and rich production design to the capable battle sequences and the striking landscapes where they take place. But the film’s pulse comes from its characters and the contradictory world unfolding around them. Smallbone and Leach capture the burdens and conflicts that are central to their roles. Brown grounds the movie with honesty and pathos. Iain Glenn is superb as Major Ambrose, who teaches Benjamin far more that battlefield strategy and tactics. Only Hardin feels shortchanged, but she’s still terrific in the scenes she’s given.

Then there’s the music, an interesting collection of rousing pop-infused anthems and more straightforward, narrative-centered tunes. A couple are a little jarring in the moment, but most accent the story in a number of entertaining and compelling ways. They also bring a distinct musical energy that keeps the movie from sliding into more conventional territory. Some parts of the story could use more attention, and the emotionally seismic final sequence is undeniably manipulative. But its hard not to be drawn into what is a powerful and soul-stirring musical tale of freedom, forgiveness, and reconciliation.