The uninitiated may not pick up on the red-yarn-and-corkboard subtext pinned onto a mostly straightforward extraction mission in South America, pretty much Taken with a faint whiff of something noxious in the air.
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Judging by the robust round of applause that concluded the fully-seated screening I attended on Wednesday evening – and this, in the liberal Sodom of Manhattan! – it would seem that the folks at the two-year-old Angel Studios have tapped into a substantial and eagerly marshaled viewership.įollowing that money leads back to a more unsavory network of astroturfed boosterism among the far-right fringe, a constellation of paranoids now attempting to spin a cause célèbre out of a movie with vaguely simpatico leanings. However one chooses to slice it, Sound of Freedom has over-delivered on expectations in dollars and cents, a feat of profitability uncommon for a comparatively low-budget production without a major Hollywood-led promotional campaign. No matter that these figures require selective, almost willfully misleading framing to allow for the David-and-Goliath narrative trumpeted by supporters as the copious tweets accusing Disney of being in cahoots with a global cabal of high-power pedophiles make clear, the truth doesn’t have too much purchase around these parts.
But for a fleeting moment this past Fourth of July, while the intended audience of Indy’s latest outing was presumably spending time with their families and friends at barbecues or in other social situations, an unoccupied fandom rallied by the star Jim Caviezel claimed the day with a $14.2m gross versus Dial of Destiny’s $11.7m.
That’s not, strictly speaking, accurate – Indiana Jones and the Dial of Destiny had already been out for five days, the first three of which out-earned Sound of Freedom’s opening-day take, when the new independent thriller came to theaters on Tuesday.
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