Through personal testimony and expert analysis, Police State proves to be an arresting documentary that exposes the increasing weaponisation of the U.S. Department of Justice, yet director Dinesh D’Souza’s need to insert himself in every frame lessens the films’ impact.

Police State in not subtle in its message. The latest documentary from conservative commentator Dinesh D’Souza begins with footage of tyrants such as Adolf Hitler and Josef Stalin accompanied with a warning that the brutal regimes of the past just might represent the future of America if the current political state does not change.

While hyperbolic to be sure, plenty of evidence presented in Police State points to something rotten in Washington D.C. D’Souza – along with co-directors, writers and producers Debbie D’Souza and Bruce Schooley – presents his case that post the January 6 “insurrection” several traditionally conservative political, social, and religious groups have been the target of federal law institutions (primarily the FBI) under the orders of the Joe Biden administration.

Police State employs a multi-faceted presentation of personal testimony, expert analysis, historical references, and dramatic recreations. Of this four-punch combo it is the personal stories of conservative citizens and activists who became the target of the state and recipients of FBI overkill (the footage of shock-and-awe raids on unsuspecting families are shocking) that are the most effective.

Also making an impression are revelations from FBI whistleblowers regarding the unethical and borderline illegal tactics used by government agencies, as well as the analysis of media figures such as Dan Bongino (a co-producer of Police State) and Julie Kelly into the mechanisms and moments that has led to the deep mistrust of US Federal institutions.

Where Police State proves to be less than arresting viewing is during the films’ varied dramatic recreations. Despite featuring the usually reliable Nick Searcy as a villainous FBI chief, these recreations depreciate the impact of the film with their tacky staging and performances.

Worst yet, D’Souza can’t help but interject himself in every facet of Police State, even playing the part of a man tailed by the FBI. Numerous factors need to be weighed concerning whether a documentary filmmaker should be the face of his or fer film. While D’Souza has a sharp political mind and is an excellent writer, a captivating screen presence he is not, and in a film where the faces and voices of those caught in a targeted attack by an increasingly suspect administration are front and centre, D’Souza’s presence filling every frame was not needed.

So it goes with Police State: a documentary of urgent importance, yet marred by an unnecessary dose of ego and questionable filmmaking. Next time D’Souza should hand the directing reigns to someone else.