Directed by:
Justin KurzelScreenplay:
Zach BaylinCinematography:
Adam ArkapawComposer:
Jed KurzelCast:
Jude Law, Nicholas Hoult, Tye Sheridan, Jurnee Smollett, Alison Oliver, Odessa Young, Marc Maron, George Tchortov, Sebastian Pigott, Bradley Stryker (more)Plots(1)
For over a year, a series of bold daylight bank robberies and armored car heists leaves law enforcement baffled and the public panicked throughout the Pacific Northwest. As the attacks become increasingly violent, FBI agent Terry Husk (Jude Law) becomes convinced that the robberies are the work of domestic terrorists that plan to use the loot to finance an armed uprising against the U.S. government. Based on a true story, The Order follows Husk and his team into the tangled world of white supremacists as they try to head off a violent uprising that could shatter the nation. As the militia builds a war chest of over $4 million, Husk pursues the malevolent racist Bob Mathews to a final bloody standoff that will go down in U.S. history. (Vertical Entertainment)
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Reviews (1)
The Order has its shortcomings: Zach Baylin’s screenplay is formulaic, the dominant supporting female character comes across a bit like an artificially incorporated element and the film contains a universal dark macho sentiment. But…Jude Law is so captivating and fanatically stubborn as a deeply troubled FBI agent that Justin Kurzel can easily play around with the pacing and meticulous arrangement of the scenes while the emotional core of the film remains in the hands of the main star, who doesn’t let you catch your breath. Tye Sheridan is brilliant as his inexperienced partner and the character of terrorist Bob Matthews gives Nicholas Hoult an unexpected opportunity to play a neo-Nazi fanatic with an almost dangerous casualness. The Order is unique in that it doesn’t shy away from the seductive family idyll of white supremacists. It simply shows what makes that ideology attractive. Also provocative is the fact that Matthews and the man hunting him are in some ways dangerously similar in their fanaticism. The result is an incredibly tense thriller set in the impressive Idaho countryside that is reminiscent of Sicario a Wind River with its toughness and uncompromising nature. Despite minor reservations, I found myself glued to my seat with incredible force. This is Kurzel’s best film, in which he combines his own special empathy with human monsters and a more viewer-oriented approach. (Venice 2024)
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