From Jeff Nelson

Sometimes, even the most powerful societies look down the barrel of their demise at the hands of their own people. Director Justin Kurzel’s The Order looks at white supremacy, one of America’s greatest threats, in a non-fiction story based on Kevin Flynn’s 1989 book The Silent Brotherhood. The suitable timing of its gripping subject matter falls flat in a rather standard procedural that isn’t very memorable.

Set in 1983, Idaho-based FBI Agent Terry Husk (Jude Law) recognizes a pattern among a series of high-profile bank robberies terrorizing the Pacific Northwest. He’s convinced it isn’t the work of a traditional crime group, but rather of a white supremacist group called The Order, led by the unhinged Bob Mathews (Nicholas Hoult).

Zach Baylin and Gary Gerhardt’s screenplay takes a firm stance on extremist fanatical groups, pointing out their members’ inability to fit in the world and consequently unleashing their frustrations on others. Husk rightfully has no sympathy for them, desperate to track them down at all costs with his no-nonsense tactics. Meanwhile, he suffers from health and family complications that cause this gruff character to further retreat into himself. Husk works alongside Jamie Bowen (Tye Sheridan), a kind-hearted local cop who frequently disagrees with the FBI agent’s confrontational approach to the job. Their “good cop, bad cop” dynamic is overtly uttered in the dialogue, but pointing out its clichés doesn’t excuse them.

The Order hints at racial biases within the word “terrorism,” where one cop responds to a briefing on the white supremacist group, “You talk about these guys like they’re terrorists,” as if there’s another word to describe their actions and agendas. This is one of a few hints at nuance that are presented without diving into them. Kurzel remains in line with typical crime story plot beats, occasionally dipping his toes into horror with the Aryan Nation and its inevitable offshoot, which takes their mission to another level with grander plans to put into action. 

Law’s charisma is enough to bring Husk to life beyond the formulaic characterizations written on the page. He provides the sullen role with his signature style that audiences expect from him. Hoult is a great actor, but this character doesn’t do him any favors. He makes compelling use of the chilling intent behind Mathews’ murderous words, yet the character is a one-dimensional antagonist that doesn’t give him the space to take it to another level.

The Order is an undeveloped thriller that shies away from the timely subject matter that justifies its existence. Kurzel’s muscular filmmaking excels in its burst of electric action sequences, but the screenplay doesn’t stray far enough away from thin characters and predictable plot beats. Its most distinct qualities are glazed over by generic FBI thrills.

Rating: 2/5

The Order played at AFI Fest 2024 on October 25th, 2024. It hits theaters on December 6th, 2024.

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