"Sound of Freedom" positions its message above its narrative. It aims to highlight the atrocities of child sex trafficking by portraying distressing sequences involving vulnerable children in the custody of unsavory adults. Our protagonist, Tim Ballard, portrayed by the earnest and grave Jim Caviezel, is an American. His dedication prompts him to quit his job at Homeland Security to focus on rescuing trafficked children in Colombia.

Although based on a true story, the movie's narrative feels lifeless in its delivery. Despite the uncomfortable themes and the competent direction by Alejandro Monteverde, the film struggles to be more than just a platform for its message. Stripping away its heavy surrounding buzz, the film has clear cinematic intentions. It aspires to be a chilling non-explicit horror film, imbued with an indie-style rage and shadow-filled scenes. However, its self-imposed need to be 'important' hinders it from fully becoming a complete cinematic piece.

When considered independently, "Sound of Freedom" comes off as a solemn, dragged-out piece with a rather safe stance – the safety of children, arguably the most universally agreeable cause. Films like “Gone Baby Gone” and “Taken” have also utilized this tension. They show us how stories involving endangered children naturally stir up audience investment. But in its overzealous dedication to solemnity and suffering, the narrative by Monteverde and co-writer Rod Barr falls short in developing its characters and ideas, including intensifying Ballard's pursuit of two specific children whose faces plague him.

The film's world is so consumed with the children's safety that it lacks tension in other areas. Ballard's undercover missions lack suspense, with scenes primarily focusing on audience discomfort rather than his danger. There's an absence of mind games, with sting operations appearing superficial, resulting in a series of anti-climactic moments. The film intriguingly steers clear of violence or machismo, but fails to offer anything substantial in its stead.

Key scenes often boil down to minimal dialogue. For instance, Ballard's decision to change his career is comes from a simple question from a colleague. Mira Sorvino, playing Ballard’s wife Katherine, is given only a few cliched lines despite her character's credited inspiration for his journey. Bill Camp, portraying a confidant, gets more screen time, offering a moving monologue about the dark heart of child sexual abuse.

Jim Caviezel, with his blonde hair contrasting against the film’s grayscale, is the centerpiece for this hollow character exploration. His restrained performance is captivating but loses traction as the movie fails to develop Ballard beyond a symbolic figure. A cursory YouTube search reveals that the real-life Ballard is much more vocal and energetic. This suggests a potentially different tone for such a character-driven narrative.

"Sound of Freedom" purports to provoke discussion about child sex trafficking. However, its content feels no more enlightening than a horror movie about fictional monsters. The film concludes with facts about modern slavery and a note on how Ballard's efforts led to legislation for better international cooperation. However, these elements are overshadowed by the film's insistence on centering itself. As the credits roll, Caviezel reappears to draw parallels between the film and the historical novel "Uncle Tom's Cabin". This encourages viewers to share the film widely and contributes to ending child trafficking. But there's a glaring lack of clarity on how the film itself contributes to combatting the issue, lending "Sound of Freedom" a discomforting ambiguity.