*The Order* represents a shift in his style towards a more dynamic narrative structure. The film retains a sense of gravity while not shying away from tension and excitement, ultimately delivering a uniquely entertaining experience that still grapples with significant issues.
The year is 1983. Talk radio host Alan Berg from Colorado (portrayed by Marc Maron) is stirring things up on the airwaves, humorously debunking the claims of racist callers. Meanwhile, in the Pacific Northwest, a spate of armed robberies linked to white supremacist factions has law enforcement on high alert. This is the backdrop for *The Order*, Justin Kurzel’s enthralling yet politically measured crime drama. The story revolves around fictional FBI agent Terry Husk (Jude Law) as he navigates a tangled web of genuine extremism, echoing unsettling themes relevant today.
Adapted from Kevin Flynn and Gary Gerhardt’s nonfiction work *The Silent Brotherhood*, which details the ascent of an actual white supremacist group known as “the Order” or “the Silent Brotherhood,” the screenplay is authored by Zach Baylin. Despite the incendiary subject matter, *The Order* fully embraces the thrilling elements of a Hollywood action drama, resulting in an unexpectedly compelling viewing experience. Kurzel deviates from his often somber style, opting for a more vibrant approach, while Jude Law shines as a committed yet volatile FBI agent whose life is consumed by his work.
### What is *The Order* about?
The film begins with a stark contrast: the sharp, sarcastic voice of Alan Berg on the radio, ridiculing bigoted callers, overlaps a chilling sequence of neo-Nazis executing one of their own in the dark of night for disclosing too much about their plans. Though Berg, a Jewish radio figure, makes only occasional on-screen appearances, his show acts as a narrative thread throughout the film, providing both levity and a sobering reminder of the everyday realities of antisemitism and white supremacy. His voice is a counterpoint to the film’s portrayal of extremist militias, anchoring the narrative in the truth that these violent groups originate from the same ideological foundations as the callers Berg mocks.
For those aware of Berg’s story, his inevitable encounter with the Order adds a note of tragic certitude. Nevertheless, the film centers around two main characters: FBI agent Terry Husk and Robert Jay Matthews, aka Bob (Nicholas Hoult), the captivating leader of the Order. Husk, a solitary and temperamental agent, has recently moved to the FBI’s Idaho office, where he anticipates the arrival of his estranged family. His existence is wholly centered on his career, rendering him hollow and constantly on edge. In contrast, Bob is a magnetic leader who inspires loyalty among his followers, fosters a sense of camaraderie, and balances a wife, a son, and a pregnant mistress. The appeal of his cult lies in its promise of community and meaning.
Husk’s investigation kicks off when he discovers “white pride” flyers scattered throughout the town. Despite local law enforcement’s apathy, rookie officer Jamie Bowen (Tye Sheridan)—who has mixed-race children and a wife of color (played by Morgan Holmstrom, an actress of First Nations and Filipina descent)—takes these signs seriously. With Bowen’s support, Husk starts to unravel the Order’s operations, but Bob always seems to be one step ahead, setting the stage for a tense cat-and-mouse game filled with exhilarating heists and shootouts. While the film excels as a procedural, it often shies away from a deeper investigation of its heavy themes.
### A functional approach to white supremacy
*The Order* shares some elements with Spike Lee’s *BlacKkKlansman*, particularly in its mix of humor and drama to underscore the absurdity and peril of white supremacy. However, while Lee’s film emphasizes Black experiences and viewpoints, Kurzel’s offering is more directly focused on a chase narrative. The film’s sole Black FBI agent, portrayed by Jurnee Smollett, delivers significant lines but largely remains on the periphery. In a similar vein, although *BlacKkKlansman* concludes with a haunting reminder of the persistence of neo-Nazism, *The Order* avoids addressing systemic issues such as racism within law enforcement, choosing instead a streamlined, action-centric narrative.
Kurzel’s perspective on white supremacy is pragmatic, emphasizing the mechanics of extremism rather than its ideological underpinnings. The film prominently includes *The Turner Diaries*, a neo-Nazi novel from 1978 that has long been a blueprint for white supremacist rhetoric and violence. The book’s influence on the Order serves as a pivotal element of the plot, as Husk and Bowen leverage its contents to persuade the FBI to prioritize tackling the group. By spotlighting the book’s role in shaping extremist ideologies, the film serves as a chilling reminder that such beliefs continue to pose a significant threat, resonating with incidents like the January 6, 2021, Capitol insurrection.
### Kurzel’s most accomplished work
*The Order* may be portrayed as a B-movie masquerading as an esteemed drama, yet it simultaneously signifies a pivotal moment for Justin Kurzel as a filmmaker. Known for his dark, morbid films like *Macbeth*, *Nitram*, and