REVIEW: ‘Sovereign’ is an intense look at extremism on the human psyche

One of the more dangerous movements in America over the last few decades gets explored in great detail during this new drama.

Christian Swegal makes his feature directorial debut with this film, centering on the real story of Jerry Kane (Nick Offerman) and his son Joe (Jacob Tremblay). Jerry was well known in circles of the sovereign citizen movement for his speeches about his interpretation of American law and home ownership rights.

His perception of power that the American government has, and his disregard for the operations of law enforcement and courts, leads to a growing tension with authority. That eventually leads to a fateful 2010 run in with police in West Memphis.

Having watched plenty of Youtube videos about the sovereign movement and compilations of their incidents with police, including footage of the situation built up to in this movie, I went in with some level of knowledge. However, for those unfamiliar, the movie gives a captivating crash course on the subject.

Over the course of the film, which clocks in at an hour and 40 minutes, one gets a sense of how this movement appeals to people, how it impacts their lives, and how it can lead to dangerous mentalities. What Swegal’s picture does really well is capture the mental stranglehold that’s created by extremist thinking and how it impacts those around the person.

It creates a portrait of a character that humanizes them, without endorsing their positions. Additionally, the film is very much about fatherhood, and what can be passed on from father to son. This is shown through both the two main characters, and a police officer who’s the son of a department chief. That officer later has a run in with the Kanes.

That downside is that the rookie police officer, Adam (Thomas Mann), and his father, John (Dennis Quaid), are introduced rather late into the film. As a result, this father-son relationship feels underdeveloped, as it’s sort of playing catch up with the Kanes counterpart.

The film could have been extended by maybe 15 more minutes to flesh this aspect out more for a better parallel and a greater sense of who Adam and John are, as well as law enforcement’s view on this sovereign citizen movement. This extends to the rest of the film, too, as it becomes a bit thin narratively in the middle.

There are times it all feels a bit too simple, as if it’s just a straightforward dramatization of this true story without a deeper dig. Some of the best scenes are where Jerry is speaking to attendees of his speeches, and they describe their desperate situations, the type of socioeconomic factors that drive some people to this sort of extremism.

The film could have used a bit more of this, with an extended view of where this leads. Maybe have Jerry meet other sovereign citizens to give a greater level of understanding on the movement. It’s a relatively large faction of the far right, and showcasing a stronger tie to Jerry and his eventual actions could have made for a richer experience.

That’s not to say what’s presented is ultimately underwhelming. It’s still a compelling watch, but it doesn’t quite reach a higher tier in terms of political/crime thrillers. While it may not be one of the top films of the year, though, it does boast four strong performances.

Offerman is superb in the lead role, giving an intensity and danger to the character, without making him seem like an outright villain. Tremblay, meanwhile, is quite impressive in a more reserved role for the younger actor, as his character is quieter, both from following his father’s directives and having limited ability to socialize.

The film is well rounded from the other two key performances, with Quaid and Mann both solid in their parts. The movie also looks really good. The set and costume design is well done, the audience gets an idea of the state the main characters are living in which adds to their experience. The film also is visually gritty and gloomy, enhancing the vibe.

“Sovereign” could have been a bit more expansive in its thematic dissection of the fringe politics at play, and it also could have spent a bit more time with other characters. However, the acting is strong, especially from Offerman and it offers an engrossing window into an extreme psyche. Swegal crafted a fine feature. 3.75 out of 5.