PLOT: A burnt-out FBI agent (Jude Law) tries to shut down a right-wing militia run by a white supremacist (Nicholas Hoult) who’s planning an armed insurrection.
REVIEW: The Order is a slickly made, true-crime thriller that tells a pretty compelling story; in the mid-eighties, a group calling themselves The Order pulled off a series of violent robberies and also bombed synagogues and porn theatres, all of which was inspired by a book called “The Turner Diaries”, which was written by the leader of the National Alliance, which was one of the most powerful Neo Nazi organizations in the United States.
In The Order, Nicholas Hoult, in a role that casts him way against type, plays Robert Jay Mathews, who put together a violent, heavily armed militia that began carrying out a series of brutal assassinations and robberies. In the film, this puts them in the crosshairs of Jude Law’s Agent Husk, who has experience taking down chapters of the KKK and the Cosa Nostra but is badly burnt out, and an alcoholic chain-smoker recovering from a heart attack who’s been put out to pasture in a quiet field office. His investigation of The Order teams him with a young deputy played by Tye Sheridan, who grew up with many of the members and is the only one in his department who views them as a credible threat.
The film marks a change of pace for Justin Kurzel in that it’s a relatively commercial thriller done in the vein of a solid nineties flick, which seems primed to find him a much wider audience than his last few (good) movies, The True History of the Kelly Gang and Nitram. Jude Law has a strong contemporary role and seems to relish playing a hard-boiled cop, with him nailing the driven and obsessive Husk. A seen-it-all veteran with many skeletons in his closet, he’s well paired with Sheridan, whose wide-eyed deputy still believes in humanity and thinks he can make a difference.
While this may sound like it’s comprised wholly of cop movie cliches, Kurzel’s craft is impeccable, with his staging of several impressive action sequences. At the same time, his brother Jed Kurzel contributes an atmospheric score that is being singled out in many of the movie’s reviews (for good reason). The performances are great, with Hoult chilling in that the movie portrays his cult leader-style antagonist as charismatic and intelligent. He expertly exploits the resentments his members feel to build a deadly, lawless organization whose violent legacy can be felt to this day.
In addition to Law, Hoult, and Sheridan, Jurnee Smollett also impresses as a field agent colleague of Husk’s, whose own rage against the racism of The Order memorably gets the better of her in one sequence. Plus, there’s Marc Maron in a small but memorable role as a Jewish radio DJ named Alan Berg, whose eagerness to confront racists put a target on his back.
The Order is set to come out via Vertical at some point, and hopefully, it gets a decent theatrical push, as Kurzel made a pretty slick thriller that would play well in theatres. It’s lean and mean enough that, in another era, it would have been a big-budget studio film. Thrillers like this used to be a lot more common, so it’s refreshing to see a throwback like this, which reminds me (in the best ways) of the kinds of studio-made thrillers I loved watching growing up in the nineties.
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