Angel Studios, the media company and streaming platform rebranded from its previous name in 2025, has produced a third cinematic iteration of the 1947 Western “Angel and the Badman.” Directed by Julio Quintana and starring Zachary Levi, the latest adaptation offers a somewhat uneven viewing experience set against the calming landscapes of New Mexico. This follows a 2009 Hallmark Channel version, which featured Lou Diamond Phillips and Deborah Kara Unger and was filmed in the wintry settings of British Columbia rather than the traditional American West.
The original 1947 film marked John Wayne’s debut as a producer, stemming from Republic Pictures and a screenplay by veteran writer James Edward Grant, who would subsequently write eleven more Wayne films. In a notable gamble, Wayne hired Grant for his directorial debut. The film balanced elements of a sagebrush romcom with a leisurely redemption drama, portraying Wayne as Quirt Evans—a gunman and cattle rustler seeking to escape his violent past after being nursed back to health by the Worth family, particularly the Quaker daughter Penny, played by Gail Russell.
While the original remains the most compelling of the three versions, the new release appears tailored to Angel’s business model, which emphasizes “values-based” storytelling aimed at amplifying positive virtues. The remake blends Christian teachings with themes of righteous retribution, though it smoothes over much of the gritty texture associated with the genre.
Tommy Lee Jones delivers a standout performance as the U.S. Marshall, a role originally played by Harry Carey. At 80 years old, Jones brings a wily, philosophical presence to the part, offering witty nuances even in dialogue that borders on cardboard. However, the film often feels like it should be centered entirely around his character.
Levi’s portrayal of Quirt struggles to reconcile the script’s tonal swings. The character frequently adopts an anachronistic, wisecracking persona, delivering lines such as “Sorry I’m late!” during dramatic rescues. While Levi performs competently, his approach leans more toward the tone of Jason Sudekis in “Ted Lasso” than the creation of a dimensional, morally complex protagonist. The review notes that the title “Angel and the Badman” referred to two angels, not one.
Visually, the film lacks authentic period detail. The depiction of the Worth family and the surrounding townsfolk replaces specific Quaker theology with general Christian belief. Production design choices, such as freshly polished belt buckles and hastily painted signage, undermine the 19th-century atmosphere. Cinematographer and editor Alex Quintana manages competent lighting and shot design, though the work lacks distinction. The film’s strongest moment is its opening sequence, which features a judiciously framed long-distance shot of a lone rider, setting a higher bar than the rest of the movie achieves.
Ultimately, the remake trades the subtle piety and strong chemistry between Wayne and Russell found in the 1947 original for a narrative heavy on sanctimony but light on romantic spark.
I’m skeptical about Angel Studios’ ‘values-based’ approach sanitizing a classic western so much that it loses all grit.
Tommy Lee Jones is the only reason I’m watching this. His performance alone saves the film from total mediocrity.