Sovereign, now available for streaming on Hulu, presents a gripping boat thriller through the eyes of two teen brothers from a group calling themselves “sovereign people,” and features performances by Jacob Tremblay and Nick Offerman. This film marks the debut of writer and director Kristian Svegal, and it delves into the complex world of the sovereign citizen movement. Understanding this context is crucial; adherents believe that governmental laws don’t apply to them unless they consent. The FBI designates this movement as domestic terrorism due to its connections to violent anti-government organizations, including militia groups. To frame it simply, they’re a group of anti-government conspiracy theorists who misinterpret laws to sidestep taxes, mortgages, and other responsibilities. They often express their beliefs in convoluted legal jargon, reject public schooling, and possess an arsenal of firearms, setting the stage for the tragedy that unfolds.
Sovereign: Stream or skip?
Key points: A notable detail to consider is that Jerry Cain (Offerman) doesn’t wear a seatbelt, whereas his son Joe (Tremblay) does. This suggests Jerry’s rebellious nature—he resists conforming to rules, while Joe appears to wrestle with his father’s ideology. The pair reside in a rundown house in West Memphis, Arkansas, cluttered with discarded furniture, an old car, and trash in the yard. Joe often finds himself isolated for extended periods while Jerry is out promoting his beliefs. Dressed in a cheap white suit, Jerry addresses small audiences at a VFW hall, urging them to challenge banks by branding mortgage contracts as fraudulent. He considers banking to be “corporate fiction,” drafting what he calls an “affidavit of truth” in his quest to uncover deceit. His mantra? “Rights are given to us by God, not banks.” He frequently appears on sympathetic talk radio, touting his supposed noble struggle.
This lifestyle leaves Joe alone when a bank representative appears with a foreclosure notice. Jerry brushes it aside, asserting, “That’s not my contract.” Homeschooling was Joe’s only education, with his father dismissing any formal learning. Secretly, Joe yearns for a chance to attend conventional school; he seems curious about the world beyond their home and his father’s controlling nature. Sometimes, he catches glimpses from neighbors, but it feels like an insurmountable barrier separates them. To cope, Joe turns to social media, feeling pulled between Jerry’s influence and the outside world.
One day, as Jerry prepares for a road trip, he decides to buy Joe a white suit from a thrift store. He bemoans financial struggles, claiming all money is a fabrication, and Joe suggestively offers a hat for donations. They calculate—$900 raised. Joe questions why they don’t just settle the mortgage since they have the funds, but Jerry swiftly dismisses that idea. On a road trip, a police officer stops them, and Jerry tries to evade responsibility, stating, “This isn’t a car,” and “I’m not driving.” This leads to his arrest, revealing a lengthy criminal history, including violations related to firearms and driving. Joe, left in a social services’ care during his father’s incarceration, uncovers that his mother passed away when he was ten. In this new environment, he connects with peers, enjoying basketball games, leaving a glimmer of hope for what his life could be.
Which movie does it remind you of?: It brings to mind various films about Timothy McVeigh, including biopics and documentaries, along with dramas like Leave No Trace and Hell or High Water, which explore the moral conflicts surrounding ethical issues in banking.
Featured performance: Offerman delivers an intense portrayal of a man frantically trying to impose his version of reality through aggression, while Tremblay’s quietly rebellious character offers a perfect counterpoint. The expressions Joe makes, like a troubled “I don’t know,” hint at darker developments ahead.
Memorable dialogue: At the shooting range, Jerry instructs Joe on targeting a paper figure resembling a police officer, saying, “Next time, aim harder at the head. They’re wearing bulletproof vests.”
Gender and skin: none.
Our view: An subplot introduces a police chief, played by Dennis Quaid, and his son (Thomas Mann), an apprentice officer. This storyline might connect to the film’s theme of a call about an officer being shot, which hints at future tension. The dynamics between Jerry and Joe echo broader themes of parenting, control, and generational conflict. Svegal skillfully navigates this without making it overly tidy, illustrating changing morals and the relatable pressures children face regarding their parents’ beliefs.
Even if you’re unfamiliar with the real-life story of Joe and Jerry Cain, Svegal’s Sovereign unfolds gradually towards an expected yet tragic conclusion. The ambiguity surrounding the motivations drives a poignant narrative, though some might argue the police subplot lacks depth compared to the father-son conflict. Overall, it’s a well-structured film that allows moments of dialogue to resonate without excessive exposition. Joe’s expression of enlightenment in class hints at the contrast between his father’s views and societal norms.
Skepticism can be a useful tool if applied wisely, yet Jerry seems to employ it indiscriminately. For him, standardized tests symbolize total assimilation, while for others, they provide a necessary framework for societal function. The narrative is focused on Joe’s perspective, emphasizing his struggle with whether his father’s path is viable. Given the rise of similar ideologies since the financial crisis, one can view this as a profound tragedy.
Our call: Sovereign is a powerful, difficult yet rewarding drama. It’s definitely worth streaming.
