A father and son who identify as Sovereign Citizens, a group of anti-government extremists, find themselves in a standoff with a chief of police that sets off a manhunt.
“Aim for the head. They wear bulletproof vests.”
Such is the advice Jerry Kane gives to his son Joe after finishing a session at the local shooting range. The father always makes sure they’re using outlines of police officers as targets, this bonding experience and the purpose behind it having been ingrained in the young man. Unfortunately, this sort of indoctrination has been part of the boy’s life for as long as he can remember; its only become more forcefully delivered since his mother died.
Christian Swegal’s based-on-fact “Sovereign” is a powerful, disturbing look at two father-son relationships, each with their share of disfunction, both featuring parents who truly believe they’re acting in their child’s best interests. That the young men in both situations come to question their father’s methods is a testament to their character which is, of course, ironically a product of their upbringing.
As Jerry Kane, Nick Offerman is a revelation, the actor giving a performance that becomes more and more captivating as his character becomes increasingly unhinged. Having lost his daughter to SIDS, he’s become increasingly paranoid about government interference after an autopsy was done on the child without his permission. In dire financial straits, he’s taken to being confrontational with anyone he sees as a threat. He’s taken legal action against the bank when they threaten foreclosure, and he doesn’t regard himself as a citizen of the United States, so he ignores the law at every turn.
The flip side of the coin is police officer John Bouchart (Dennis Quaid). A 30-year veteran, he’s strictly by the book where his job is concerned, following procedure at every turn. Woe to any officer that would deviate from protocol on his watch. And while he is a solid and respected public servant, he carries over his stern demeanor with his family, much to the consternation of his wife Patty (Nancy Travis).
While it stands to reason Jerry and John’s sons would be different, they do share some key commonalities. Joe (an excellent Jacob Tremblay), having been homeschooled is sheltered from the outside world. Yet, he’s bright enough to know his home life is not what it should be. As his father loses his grip on sanity, he instinctively looks for a new way of life. Meanwhile, John’s boy Adam (Thomas Mann) is also trying to break out of his father’s shadow. A rookie police officer, he’s fine with being compared to his old man; he just wishes he’d notice his hard work once in a while.
The four characters are on a collision course that has tragic implications for all involved. Based on a 2010 shooting incident that occurred in West Memphis, Arkansas, Swegal takes a low-key approach, refusing the temptation to sensationalize the event. Rather, he’s more interested in examining how the situation developed, primarily where the Kane’s are concerned.
A slowly developing sense of dread hangs over the film as Jerry is backed into a corner by forces, he refuses to acknowledge. Scenes in which he speaks to others feeling disenfranchised – at conferences in which he offers faulty legal advice – taps into the dissatisfaction so many are feeling over having been left behind. While Jerry truly believes he’s helping, he’s simply stoking the fear and anger they all share. Ignored and with no options, it’s a wonder more citizens of no means don’t snap as Kane eventually does.
Compelling acting from all involved and rendered to generate tension as well as sympathy for the characters, Swegal’s intent is to shine a light on those in need of financial opportunity and mental health resources. There are no villains here, just forgotten people desperate for a happy life, forced to act when all options are gone. “Sovereign’s” powerful final scene provides a sense of hope, suggesting cycles of dysfunctional behavior can be broken if we’re strong enough to recognize and act to rectify them.
3 1/2 Stars
