‘The Order’ Review | Riveting & Relevant Real-Life Thriller

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As a passionate cinephile with a keen interest in films that delve into the darker corners of society, I must admit that Justin Kurzel’s “The Order” has left an indelible mark on me. The film is a chilling exploration of extremism and its devastating consequences, beautifully executed by a talented ensemble cast led by Jude Law and Nicholas Hoult.

Australian filmmaker Justin Kurzel’s gripping and raw true-crime drama titled “The Order” is set in the past but resonates strongly with our contemporary issues. It presents a chilling origin tale of the modern white supremacist movement in America, deriving its impact from Kurzel’s understated and unadorned filmmaking approach that avoids unnecessary dramatic enhancements or gratuitous action sequences. Throughout the movie, Kurzel maintains this minimalist style, even while directing his actors – a never-better Jude Law delivers an understated performance as FBI agent Terry Husk, who during an investigation into Idaho robberies in 1983, uncovers an Aryan Nation splinter group planning for a race war.

The organization called “The Order” is headed by Bob Mathews, who, as portrayed by Nicholas Hoult, exudes a charisma that proves more effective than rage. If a film’s quality hinges on its villain, then Hoult’s compelling portrayal of Mathews undeniably elevates “The Order” to greatness. Mathews provides his followers with a feeling of belonging and camaraderie while simultaneously instigating bank robberies and armored car heists to finance their rebellion. Husk and Mathews are mirror images, both relentless in their pursuit of their goals, yet often at the expense of their families.

In contrasting Mathews’ personal life, which consisted of a wife and a mistress, with his expanding circle of dissatisfied followers, Kurzel presents him with a justifiable, albeit misguided, reason that forms a strong thematic base. Remarkably, Kurzel delivers an engaging and unsettlingly prophetic portrayal of events, infusing it with authenticity that compels our undivided attention. This portrayal compels us to find contemporary correlations with a malevolent group whose progress the FBI managed to curtail but not completely halt.

In ‘The Order,’ Violence and Hatred Come Disguised as Family

In a unique style, Kurzel specializes in producing films that meticulously depict the progression of violent individuals with an almost clinical level of psychological depth. The Order can be seen as an expansion of his previous work, Nitram, which delves into the 1996 Port Arthur massacre in Tasmania that claimed 35 lives. Both films suggest that the roots of violence don’t suddenly appear but instead thrive under the right conditions – a toxic environment and foul surroundings. Zach Baylin’s screenplay (adapted from Kevin Flynn and Gary Gerhardt’s 1989 non-fiction book, The Silent Brotherhood) excels in portraying Mathews’ rise to power, doing so subtly without a single gunshot being heard.

In a pivotal moment, Mathews encounters Richard Butler (Victor Slezak), founder of the Aryan Nation, on an isolated road. Butler, championing his white supremacist beliefs, is strategic in his approach, believing that “in ten years, we’ll have representatives in Congress and the Senate – that’s how you bring about change.” This prophecy, which ultimately proves true in the context of The Order, strikes a chilling note for every viewer in 2024.

In 1983, it was Mathews who incited his racially prejudiced followers with calls for immediate and aggressive actions. This violence reached its peak in 1984, leading to the murder of Jewish radio host Alan Berg, portrayed brilliantly by Marc Maron in this film. Berg was the one character who openly challenged and criticized Mathews’ group. It appears that those in power wanted to suppress opposing opinions, and unfortunately, it seemed inevitable here as well as in reality that Berg would be silenced for his outspokenness against them.

Counterfeit Bills and Bank Robberies Are Only the Beginning

In a world where “The Turner Diaries,” a 1978 guidebook for racial hatred penned by William Luther Pierce, threatens to ignite a devastating race war, it’s only a tenacious Husk that stands as a barrier between Mathews and this impending conflict. At the start of our story, Husk is drained, both emotionally and physically, from years spent tracking down the Ku Klux Klan and the Mafia in New York City. Seeking respite, he decides to transfer to an abandoned FBI office in Coeur d’Alene, Idaho, hoping that this change of scenery might persuade his estranged wife and daughters to reunite with him in the Pacific Northwest.

If you find this background story somewhat cliche, it indeed is. However, the character’s demeanor is heavily influenced by Law, giving off an air of somber, seasoned professionalism that will undoubtedly make him a pivotal piece in the dam against the incoming tide of white nationalism, which we know threatens to undermine the American Experiment.

The arrival of Husk coincides with a series of events including porn theater bombings and bank robberies in the vicinity. However, the local sheriff isn’t very cooperative, but Deputy Bowen (Tye Sheridan, moving away from his younger roles towards something more engaging) suspects that the Mathews clan isn’t merely distributing Aryan Nation literature. They’re also printing counterfeit money, although it’s unclear what their purpose is. When Husk and Bowen discover the body of the informant who told Bowen about the counterfeit bills, FBI agent Joanne Carney (Jurnee Smollett) becomes involved to help connect the dots.

‘The Order’ Is One of the Better Films of 2024

As a film enthusiast, I can’t help but appreciate the way Kurzel and cinematographer Adam Arkapaw frame characters against expansive, desolate landscapes. When combined with Jed Kurzel’s hauntingly subdued music, this technique produces an eerily authentic atmosphere. The action sequences, such as a gunfight in a Sears parking lot and the broad daylight heist of an armored car, are portrayed with a stark, newsreel-like realism that keeps me on edge.

In a masterful display of storytelling, direction, acting, and visuals, Christopher Kurzel’s firm grasp on “The Order” never lets up, even following its intense climax. This is because, in a way, the film seems to have no true ending; instead, it transitions seamlessly from Kurzel’s captivating grip into the annals of history yet to be written. “The Order,” produced by Vertical Entertainment, is set for release in select cinemas on December 6.

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2024-12-02 13:02