Sound of Freedom (2023)

Sound of Freedom (2023) 8.1

 
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Watch the film Sound of Freedom (2023) | WE WATCH

Watch the film Sound of Freedom (2023) – The story of Tim Ballard, a former US government agent, who quit his job to dedicate his life to saving children from global sex traffickers. “Sound of Freedom,” the current film, has a message first, and a story second. The message is that we need to be more aware of the horrors of child sex trafficking. It does this by showing a series of children in danger, being carried around by slimy adults, and making us remember everyone’s faces. Then it gives us the tired hero, Tim Ballard, an American guy whose superpower is that he cares. This father and husband cared so much that he left his job at Homeland Security ten months before getting his retirement. Instead of simply catching pedophiles, as he had done nearly 300 times before, he went to Colombia and went undercover to help save children. This man is played by the gentle and very serious Jim Caviezel, who endures the agony of this message as much as he did when he played Jesus Christ in Mel Gibson’s “The Passion of the Christ.” The story is true, but the story is hardly true. This is a shame, not only because it’s uncomfortable to be numbed by these themes, but also because director Alejandro Monteverde nicely clears the low bar for filmmaking that’s expected from films that put a premium on message (and often come with similar props that driven by belief). ). Take away the surrounding noise, and “Sound of Freedom” has a different cinematic ambition: a non-graphic horror film with what might be called an art house sensibility to temper the precise and striking anger and shadow that emanates from an already bleak world. If “Sound of Freedom” were less concerned with something “important,” it could be more than just a mood, it could be a film. On its own, “Sound of Freedom” is a serious and boring story with a not-so-courageous narrative stance. Concern for the safety of children is about the easiest thing for any decent human being to do. Previous films like “Gone Baby Gone” and “Taken” also relied on that suspense, showing how easy it is to invest in a story when children are stolen and in uncertain danger. But despite being so committed to such earnestness and anguish, the truncated storytelling by co-writers Monteverde and Rod Barr neglects to flesh out its ideas or characters or add intensity to Ballard’s slow-slow search for two children in particular (Lucás Ávila and Rocío’s Miguel by Cristal Aparicio) whose face haunts him. The “true story” framing only provides so much edge before it too becomes obtuse.

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