A Review of "Sound of Freedom"
My one-phrase review of the 2023 film "Sound of Freedom": heart-stopping.
To expand on this phrase, this is—simply put—the most gripping film I have seen in a long time. It features an incredible performance by Jim Caviezel, which I’ll dig into briefly. Caviezel is a touch eccentric in his pacing, which is effective. He's very confident with the focus on him (being both a ruggedly handsome man and an established actor), and he can hold the camera at the level of historic elites like Liam Neeson, Russell Crowe, Mel Gibson, Clint Eastwood, and Val Kilmer.
But Caviezel does not merely command the lens. His gaze is long and often unblinking, which has an unnerving effect. When he speaks in the movie, which he tends to do in measured doses, he’s consistently a quarter-note off in his timing. Through this unique deployment of language, Caviezel slows time down. His performance is a proxy for the film’s broader message: pay attention. Don’t look away. In this light, “Sound of Freedom” reminded me—perhaps strangely—of “The Prestige,” the Christopher Nolan film that similarly demands careful focus.
The performance Caviezel offers is reflective of the descent his character makes into a kind of earthly nightmare. It’s as if this masterful actor is saying to us, This is not a normal movie. Normal reflexes and quick witticisms and regular pacing, all standards of a lively movie, will not do. We are going into the pit; buckle up. I find it difficult, frankly, to convey how powerful Caviezel’s acting in “Sound of Freedom” is. Description doesn’t do it justice.
The beautiful cinematography accentuates the tone set by Caviezel. Many shots are framed with the key character right in the center alongside an uncluttered mise-en-scene. The visual effect is clarifying, but also harrowing. As there is no escaping for the trafficked children and brutalized women before us, so there is no escaping for us, the viewer.
I marvel at the vision of Eduardo Verástegui. The producer of “Sound of Freedom,” he was also the creative force behind an earlier film, “Bella,” that was equally heart-stopping. Verástegui is one of the most talented actors, producers, and moviemakers of our time, yet he will not get his due because of his convictions. But hear this here if nowhere else: in his extended consideration of the rougher edges of the human condition, Verástegui is nearly unequalled today. In his lane, he is something very close to an auteur.
Though Verástegui and I would differ on core matters of doctrine (he is a Catholic), his heart for the lowly, the suffering, and the oppressed is remarkable to see. This man is not afraid to look into the darkness. Many are, even many fellow evangelicals. Verástegui not only stares into it, though; he goes into it. By this I mean that he produces art that opens our eyes to the plight of people ravaged by evil, pure evil.
“Sound of Freedom” is a masterful achievement, and all the more because it was not ever supposed to go public. It was opposed for years. This tells us what depth of depravity is around us, because there is no good reason why such a film should not come to market. Sin goes into the airwaves with ease, but a film opposing wickedness can scarcely appear in public—particularly when it is an elegantly-made film. Indeed, the excellence of the craft renders “Sound of Freedom” all the more dangerous to the corrupt. It is not only true; it is beautiful. The devil trembles at this.
As should be clear, I would—in the friendliest way—urge every believer out there to watch this film. I am some months behind, regrettably; in my current season of life, with seminary classes and speaking trips and basketball practices and all the rest, I don’t get to the theater much. I unfortunately missed the film’s theatrical run. But having watched it for free on Amazon Prime, I can say (for what little it’s worth) that “Sound of Freedom” is a movie that Christians should watch.
Some have written this movie off as mere propaganda. It is no such thing. In fact, it is all the more forceful for consistently showing and not telling. (This is the classic problem of Christian art; we simply cannot resist sermonizing in our creative works, and that commendable instinct all too often dooms many of them to mediocrity and justified obscurity.) “Sound of Freedom” is a work of genuine art; as with all such products, it actually does communicate a message very powerfully, but it does so in a uniquely artistic way, not a pedantic way.
This film will inspire anyone with a conscience—particularly born-again Christians—to stand against evil in our world. You may not go overseas to fight trafficking, but the battle against the devil must be fought (Ephesians 6:10-20). We all have our part to play; by the grace of God, play yours. Remember, as you seek to do so, the long and at times unnerving gaze of Caviezel. Clothed in the armor of God, look into the darkness.
But as you do so, see this as well: you are not alone. There is one who goes before you. He is the Lord Jesus Christ. Whatever brave souls like Tim Ballard and his coworkers pull off, I assure you that Jesus is on a search-and-rescue mission unlike any other. He is as Scripture unveils the Good Shepherd who gives his life for the sheep (John 10:11). He gladly leaves ninety-nine of his own to go and find one lost soul (Matthew 18:12). He is coming for all his people, and no one will be left behind.
But mark this as well: Jesus will also soon execute his search-and-destroy mission (Revelation 19-20). No wicked person, no unrepentant sinner, no doer of evil will escape. The justice on display—breathtaking display, truly—in “Sound of Freedom” is but the tiniest trickle of the justice that Jesus will hand down. No one will squirm away; no one will prosper in their pattern of sin; no one will slip the net. The reign of the wicked will end—glory, and hallelujah besides.
Jesus is coming back, and when he does, there will be a sound of freedom, and a cry of jubilation, unlike any that has ever been heard (Revelation 4-5).
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