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    ‘Sovereign’ Review: The Fringe and the Forgotten

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    Nick Offerman stars as an anti-government widower whose extremist philosophy inches closer and closer to violent conflict.Much of the American moment — of distrust, violence and the inevitable collision between the fringe and the forgotten — courses throughout “Sovereign,” the crime thriller from the writer and director Christian Swegal. In other words, one can immediately recognize Jerry Kane (a remarkable Nick Offerman), even if they are not familiar with the true events his story is based on.A proponent of the sovereign citizen movement, Jerry is intensely anti-government and sees himself as exempt from its laws, a philosophy that hinges closer toward violent conflict as he has run-ins with the police and ignores the bank’s foreclosure notices on his house. A widower and father, Jerry brings his teenage son, Joe (Jacob Tremblay), along to his seminars in which he teaches his ideas. Close to his father but itching for a normal childhood, Joe soon begins to chafe against Jerry’s beliefs.Dual father-and-son stories — one between Jerry and Joe, the other between the local police chief (Dennis Quaid) and his son on the force — form the film’s emotional thrust, sometimes for worse. “Sovereign” is most intriguing for its subtle, if incomplete observations of the more complicated realities of both sides of the law that inform and ripple from Jerry’s paranoid world.Meeting in basement conference rooms, the attendees at Jerry’s seminars are not acolytes of an extremist philosophy, but just ordinary people crushed by bills and the latest family emergency. Disenchanted by a system that seems to have forgotten them, they’re desperate for any answer — even if they don’t know the dark places it might lead them.SovereignRated R for violence and language. Running time: 1 hour 40 minutes. In theaters. More

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      ‘The Substance’ Review: An Indecent Disclosure

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      Demi Moore stars in an absurdly gory tale of an aging actress who discovers a deadly cure for obscurity.In Vladimir Nabokov’s 1930 novel “The Eye,” a sad-sack Russian tutor living in Berlin dies by suicide, and then spends the rest of the book skulking around the living — watching, obsessing over their lives. He eventually realizes something bleak: Most of us see ourselves only through the eyes of others, through the stories we think they make up about us from the glimpses they get of our lives. “I do not exist,” the narrator writes near the end of the book. “There exist but the thousands of mirrors that reflect me.”Something of “The Eye” lurks in “The Substance,” Coralie Fargeat’s mirror-haunted gory fable about fame, self-hatred and the terror that accompanies an identity constructed on the backs of other people’s stares. Elisabeth Sparkle (Demi Moore), the aging star at the center of the narrative, is very much alive, but she might as well be dead when the story starts. A career spent in front of cameras — first as a celebrated actress, and then as a celebrity fitness instructor on a show called “Sparkle Your Life with Elisabeth”— abruptly ends when an executive (Dennis Quaid) decides she’s too old to be worthy of being seen. He gets to decide if anyone wants to look at her, and if he turns the cameras away, does she even exist?That executive is loud and disgusting and named Harvey, which should tell you a little about the subtlety of this movie, which is to say it has none, and doesn’t particularly want any. He, like most of the movie, is deliberately way, way over the top. “After 50, it stops,” he tells her, through mouthfuls of mayonnaise-coated shrimp, by way of explaining why she’s no longer attractive. Then he sputters when she asks what “it” is.There are mirrors everywhere in Elisabeth’s world: literal mirrors and polished doorknobs, but also pictures of her in the hallways at the studio and a giant portrait at her house, so that her younger body and face are always looking back at her. Everywhere she looks, there she is, or was — lithe, toned, smiling broadly. Elisabeth is still gorgeous by any sane person’s reckoning (and Moore is in her early 60s), but surrounded constantly by a version of herself with a little more collagen, she is being slowly driven mad.Relatable, really. We all see too much of ourselves. Ancient women had pools of water into which they could peer, but our ancestors didn’t have scads of selfies lurking in their pockets. They weren’t tagged in unflattering photos snapped by friends. They didn’t have to look at their own faces on Zoom all day.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Reagan’ Review: Dennis Quaid’s Time-Hopping Cold War Drama

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      In this unabashed love letter to former president Ronald Reagan, Dennis Quaid fights the Cold War with conviction.In his long career, Dennis Quaid has sometimes played politicians. He’s been former President Bill Clinton (“The Special Relationship”) and was the president in the musical comedy “American Dreamz” with Hugh Grant and Willem Dafoe. Now, in “Reagan,” Quaid portrays former President Ronald Reagan with, if not brilliance, at least evident conviction. Time truly holds surprises for all of us.The movie, directed by Sean McNamara from a screenplay by Howard Klausner, opens with Quaid as the 40th president leaving a speech site and walking right into an assassination attempt. The picture then moves to present-day Moscow. Jon Voight plays Viktor Petrovich, a retired K.G.B. agent with an accent straight out of “The Rocky and Bullwinkle Show” who narrates the story of Reagan to a younger functionary. And so we shift back to the 1980s, and then back to Reagan’s early years in radio and Hollywood. (Mena Suvari plays Reagan’s first wife, Jane Wyman, and Penelope Ann Miller is Nancy.)In the first eight minutes, the movie makes as many temporal shifts as a 1960s Alain Resnais work, albeit quite less gracefully.Why is Reagan’s story relayed by a K.G.B. guy? Because in this unabashed love letter to the former president, Reagan was the force behind the fall of the Soviet Union. The movie implies that this “evil empire” collapsed as a result not just of his presidency, but of his anti-Communist activism during his entertainment career in the 1930s, ’40s and ’50s. These eras are depicted in scenes strongly suggesting that before shooting, the cinematographer, Christian Sebaldt, happened upon a fire sale on diffusion filters at the camera store.The cast is dotted with cameos from the actors Lesley-Anne Down and Kevin Dillon; the prominent Hollywood conservatives Kevin Sorbo and Robert Davi also appear as seals of approval, one infers. It all makes for a plodding film, more curious than compelling.ReaganNot rated. Running time: 2 hours 15 minutes. In theaters. More

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      ‘On a Wing and a Prayer’ Review: Faith as Flight Insurance

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      A family receives impromptu flight lessons when their pilot dies in the middle of a chartered flight in this spiritually insincere action film.Doug White (Dennis Quaid) is a person whose happiness has grown from deep roots. He possesses a steady Christian faith. He has a warm and loving partnership with his wife, Terri (Heather Graham), and together, they are the proud parents of two teenage daughters. But when Doug’s beloved brother suddenly dies, Doug’s faith in a higher power is shaken. And his spiritual crisis is amplified when Doug charters a small plane to return from his brother’s funeral.The action-driven drama “On a Wing and a Prayer” is based on a true story of the ordeal that the White family faced when they entered the air in 2009. Their pilot suddenly died of a heart attack in the cockpit, leaving the severely inexperienced Doug to guide the plane to a safe landing. The movie follows Doug and his family as they work and pray to defy the odds stacked against their survival, with remote assistance from air traffic controller‌s and flight instructors.The director Sean McNamara includes plenty of computer-generated action, with the plane darting through storm clouds, and narrowly swerving away from the ground. The images portray a weightless crisis, and the film’s emotional narrative feels similarly insincere, with the balance of fate seeming to sway on the placement of a well-timed prayer. Doug and his family call upon their faith as a kind of invisible parachute, a deus ex machina that can always save them from harm. It’s a cynical view of faith, one which removes the mystery and terror from life’s unforeseen calamities, and instead frames survival as a matter of calling into the correct belief system.On a Wing and a PrayerRated PG. Running time: 1 hour 42 minutes. Watch on Amazon Prime Video. More

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      ‘Blue Miracle’ Review: Fishing Lessons

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      Mexican orphans find hope through a fishing tournament in this cloying underdog Netflix drama.Gratingly sentimental and simplistic, Julio Quintana’s “Blue Miracle,” set in Cabo San Lucas in 2014, turns a potentially compelling underdog tale into a sermon. But if you’re in the mood to see Dennis Quaid learning and growing — and engaging in sappy conversations about fatherhood — then step right up.As the prizewinning fisherman Wade Malloy, Quaid evinces a manic desperation that, were it tended to, would be inconvenient to the script’s homily-strewn march toward uplift. Temperamentally grumpy and ethically malleable, Malloy learns he can only enter the latest fishing tournament if he has a local man on his team. Enter Papa Omar (Jimmy Gonzales), the saintly director of an imperiled orphanage. In debt to the bank for over $100,000, Omar needs the contest’s prize money to avoid eviction. That he doesn’t know one end of a fishing rod from the other is seemingly irrelevant.Based on a true story, “Blue Miracle” suffers mightily from slapdash plotting and superficial moralizing. (A scene where Omar is tempted by his criminal past needlessly emphasizes his reformed bona fides.) Realism is not a priority: When the orphanage is flooded by Hurricane Odile, the water appears to disappear of its own accord. Neither is it made clear why three orphans — broadly stamped as the smart one, the funny one and the tough kid with issues — are also included on the fishing crew, given their contribution to the task at hand can charitably be described as minimal.What is obvious, though, is that if the movie’s depiction of events is even close to accurate, its outcome is indeed a miracle.Blue MiracleNot rated. Running time: 1 hour 35 minutes. Watch on Netflix. More