“Angel and the Badman” is a remake of a classic John Wayne Western of the 1940s, with Oscar-winner Tommy Lee Jones in the role of the cagey marshal in this corner of the mythic West and EveryVillain Neal McDonough as the dogged gang leader out to recover stolen loot.

In the title roles? Meg Fraser, a relative newcomer (she had a supporting role in the TV romance “The Perfect Match”) is the pious, kindly and smitten “Angel.” And Zachary Levi is “The Badman,” a role Wayne himself played in the first film he ever self-produced.

Take a minute to get your head around that last credit. The once and forevermore Shazam, co-star of “Harold and the Purple Crayon,” plays a hardened criminal named Quirt, wounded and staggering onto a ranch where Christian charity prevails.

Levi seems miscast as a two-fisted, self-preserving/self-serving outlaw even if he’s far from awful — “just shy of adequate,” I’d say — in trying to fill the Duke’s boots.

The film around him? Director Julio Quintana did “The Long Game” and “Blue Miracle,” and probably didn’t have the Angel Studios budget to make an “authentic” looking, sounding, smelling and feeling Western.

Getting the dust and grime and horse and human sweat and blood and leather and sunbaked, wind-worn starkness of the era on film costs time and money. Making the pistol fire hard, metallic and loud is extra effort. Everything about this “Angel and the Badman” looks tidy, freshly-Maytag’d and pressed.

We see our heroine, Penny, trying to hitch a horse to a plow, and I’d swear I saw the Restoration Hardware price tag still on it.

The story, for those who’ve never seen the James Edward Grant original film, is about an outlaw who shoots it out and gets away from his original gang. He stumbles onto a ranch where the Worths (Jean Louise Kelly plays the widowed mother, Melissa Chambers the cussedly-cute matriarch and Barrett Ellis Luca is Penny’s kid-brother Johnny) take him in.

The ol’doc (Manny Greenfield) advises the good Christian folks to steer clear of this outlaw named for something he was beaten with as a child.

The marshal (Jones) and his deputy (Sean Bridgers) have tracked this outlaw, recovered his stolen “Confederate gold” and hope to round up Laredo (McDonough) and his whole gang. He enlists Penny to spy on Quirt and take notes as he recovers.

As she is smitten with the tall, scarred and gu-tshot stranger, she doesn’t.

Quirt recovers just in time to do a boon for the Worth women and little Johnny. He stares down the bully rancher up the valley into releasing the water he’s dammed up in an effort to dry out his neighbors.

The byword in both films is “treat everyone with kindness,” and darned if that sorry excuse for an oligarch (John Pyper-Ferguson) doesn’t soften. Just like Quirt.

But what about the outlaws? Can they be converted, fended-off or arrested to save Quirt and the Worths from the fate we’ve seen other innocents face?

The original “Angel and the Badman” came out and named the Worths and their kind “Quakers,” pacifists with a little boy a little too interested in guns for his own good. The film prefigured “Shane” and was one inspiration for the Harrison Ford/Peter Weir blockbuster “Witness.”

The “mining claim” at issue among the outlaws is replaced with “Confederate gold,” and the “Society of Friends” connection is erased here, along with much of the 1947 film’s edge (not all of it) and most of its grit.

McDonough is practically dapper in the saddle — spotless, crisp duds and hat. But he brings his usual blood-in-the-eye simmer to the role of a man determined to tidy up unfinished business. The fact that Laredo has a cough and needs mercury speaks volumes.

And Jones, who just turned 80 and is probably taking his last turn in the saddle, is adorably ornery as an old man whose face has weathered a lot more years, whose height has shrunk and whose voice has gone up an octave or so — Walter Brennanish.

But Levi single-handedly lowers the stakes here as he’s naturally more jokey than menacing.

The picture around him — freshly-painted house, “new” looking barn and what not — doesn’t take us back to The Old West so much as drop us in on a role-playing game — “Westworld” with Shazam as a Shootist.

Love the fact that Angel Studios found one more ride for Tommy Lee, and making McDonough part of their studio rep company is just smart business. But this one doesn’t compare to the 1947 film, and even without the comparison, doesn’t measure up to the message it never-quite-decides to send.

Rating: PG-13, violence

Cast: Zachary Levi, Meg Fraser, Neal McDonough, Sean Bridgers, Jesús Carús, Maurice Green, Jean Louise Kelly, Melissa Chambers and Tommy Lee Jones.

Credits: Directed by Julio Quintana, scripted by Jaime Hernandez, Kevin M. Townsend and Christopher Tuffin, based on the 1947 film written and directed by James Edward Grant. An Angel Studios release.

Running time: 1:37