Sovereign, 2025.

Written and Directed by Christian Swegal.
Starring Nick Offerman, Jacob Tremblay, Dennis Quaid, Martha Plimpton, Nancy Travis, Thomas Mann, Jade Fernandez, Jobie James, Eric Parkinson, Barry Clifton, John Trejo, Faron Ledbetter, Buddy Campbell, Brandon Stewart, Tommy Kramer, Ruby Wolf, Jared Carter, Jennifer Nesbitt-Eck, Mike L. Thomas, Cheryl Vanwinkle, William Sherman, Astrid Allen, and Alonso Rappa.

SYNOPSIS:

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.

One of the most impressive feats to pull off in movies is crafting a character so odd yet seemingly fighting for justice that it’s tough to pinpoint what to make of them. In writer/director Christian Swegal’s narrative feature debut Sovereign (inspired by true events), Jerry Kane (Nick Offerman) is an anti-establishment “sovereign citizen” and not only defying banks and other institutions that don’t necessarily always play fair, but also traveling and giving seminars to others on how to navigate such predatory situations when the average persons backs are against the wall. To one woman, he advises not only to be aware of what money she does owe a bank, but also the money she has no obligation to pay. Of course, Jerry also comes across as a quack high on his own supply, potentially spouting off gibberish tactics that won’t stand up, and taking advantage of these people without even realizing it, since his mind is so uncomfortably obsessed with pushing back against the government.

Then there is Jerry’s unorthodox relationship with his homeschooled teenage son Joe (Room breakout Jacob Tremblay, desperately in need of a script that gives him a well-adjusted and normal home life, albeit giving another outstanding performance rich in maturity and conflicted complexity beyond his years), which comes with a dynamic bordering on indoctrination more than affection. There is still reason to believe Jerry loves his son, but like in most everything else about his life, he can’t see the forest for the trees; he is lost, hopelessly misguided, and spiraling further into mental instability with each subsequent incident that threatens his homeownership and whatever delusional definition of freedom he has made up in his head. He is also a gun nut, and, well, not the kind of guy that should be walking into stores and easily obtaining more.

By all means, this is not a parent who should have guardianship, as they disallow Joe from enrolling in public high school or even having friends his age. Still, there is also something oddly alluring about his staunch, unwavering position to break free from any government rules. Naturally, his war is on a collision course with disaster, but the film wisely sidesteps portraying Jerry as a villain. It’s also apparent that Jerry has unresolved baggage stemming from his father, citing a moment where his dad showed a bit of cowardice, shrugging his questioning off with a disgruntled “forget it” rather than explaining what he meant by insisting that teachers “lie” and are more concerned with guiding students into obeying the system.

At one point, this is flipped on its head, with Joe, justifiably frustrated with his lack of a normal life (and not even able to talk to a local girl he is crushing on, which in itself starts to transition into borderline parasocial stalking since he has no reliable figure to look to for advice), becomes aware that most of what Jerry says is nonsense, uttering under his breath “forget it” and walking away. It visibly triggers a shell-shocked frustration within Jerry that is arguably among Nick Offerman’s finest performances as an actor (although admittedly, there are a few scenes that could have benefited from reshoots, unintentionally evoking his comedic side).

However, deep down, there is an internal pull that keeps Joe doing anything for his father, including bailing him out of life-threatening danger. It’s also the complexity and the inability to entirely cut himself off from his father’s crazed nonsense, perpetually at a fork in the road, that gives Sovereign its engrossingly uncomfortable suspense. Meanwhile, the presence of Police Chief John Bouchart (Dennis Quaid) provides a window into the relationship between him and his son, Adam (Thomas Mann), creating a striking juxtaposition with Jerry and Joe. Adam is undergoing training to be a police officer, but from what is observed, it also appears to be another form of indoctrination, as if John will be disappointed if he lacks the intestinal fortitude for the job.

These fathers are two sides of the same coin, pushing and motivating their children with end goals that, similarly, also come from two sides of the same coin; it’s an unsettling story about freedom, control, and power, blurring the lines between all three. And whereas Jerry could be considered more loving of the two fathers, it’s John who has the tough-love persona, suggesting that Adam not pick up his newborn when the baby is crying, as doing so will instill, from an early age, a sense of spoiled entitlement.

With cinematography that matches the tone of isolation and a fittingly haunting score, perfect for the tragically harrowing story that unfolds, Sovereign is a slow-burn offering much to ponder beneath what could be considered familiar thriller material. It boils over into moments that are both upsetting and emotionally taxing, the latter including a callback ending that’s earned and drives home the thematic purpose and resonance. There should be much free-thinking done on Sovereign, as this is less about the plot itself and more about the fully formed, multidimensional characters worth turning over in one’s head repeatedly.

Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★

Robert Kojder

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