The Order (2024).

“This is Alan Berg, signing off. Sayonara.”

In 1983, a white supremacist named Bob Matthews started recruiting people into what would become “The Order”, a white separatist group hell bent on waging war in the United States with funds collected from robberies and counterfeiting. His group’s story was first told on the small screen in 1999, when Peter Gallagher portrayed Bob Matthews in the Showtime original film Brotherhood of Murder. Now, The Order, directed by visionary director Justin Kurzel, revisits this dark chapter in American history with a different take in this true(ish) story.

Nicholas Hoult takes on the role of Bob Matthews in The Order, which gives equal screen time to the Nazis who are trying to fund a war through nefarious activities and the law enforcement teams trying to bring them down. Jude Law plays Terry Husk, a 26-year veteran on the force who’s trying to reopen the Coeur D’Alene office in Idaho when an eager local police officer named Jamie Bowen (played by Tye Sheridan) points him in the direction of an Aryan church tucked into the Idaho wilderness. Based on a tip he got from an acquaintance who’s gone missing, he suspects that this church is into more than just sermons - counterfeiting, bombings, armed robberies and murder are all possibly on the menu. What follows is a classic cops-and-robbers flick that’s elevated by stellar performances, gripping cinematography, and a timely exploration of extremist ideologies that will be sure to scratch your small time crime itch.

A Film Rooted in Atmosphere

There’s so much to like here but I’ll start with the cinematography. The Pacific Northwest is some of my favorite scenery in the country and it’s seldom looked better on-screen than it does here. I was first introduced to Director of photography Adam Arkapaw’s work in True Detective, he was the DP there as well and he just knows how to get the most out of the terrain. He captures the haunting beauty of the region - its dense forests, mist-covered valleys and imposing mountains create a setting that feels both serene and menacing, but also uniquely American (ironic, considering the film was shot in Alberta, Canada). The natural landscapes serve as a stark contrast to the chaos unfolding on the streets, making the violence and tension even more jarring.

While the filmmaking isn’t flashy, there are some shots that show a bit of flair while adding to the experience instead of taking you out of the movie. For example, there’s a shot of a person getting out of a car and the camera is mounted to the doorframe, so when the door opens, we’re shown something the character doesn’t yet see, adding to the tension of the scene. The aftermath of said seen is also lingered upon, forcing you to take in the senselessness of what just transpired. These small flourishes are sprinkled throughout the film, like Kurzel telling you he’s there, even if you don’t normally notice.

Thrilling Robbery Sequences

The action scenes in The Order are another standout aspect of the film. The robbery scenes are meticulously crafted, thrilling and realistic. Unlike many heist films that glamorize violence, The Order portrays these acts as quick, brutal and chaotic. There are no senseless killings, these Nazis want the money and they want to get out as quickly as possible. When people do die, it’s never gratuitous or glorified, although some reviewers did feel that the Neo Nazis felt a little “too cool”. The score that accompanies these scenes is also amazing. Justin Kurzel brought his brother Jed Kurzel in for the score, crafting a visceral soundscape that feels both modern and timeless.

Stellar Performances

While The Order looks and sounds great, it’s the performances that truly carry the film. Nicholas Hoult is chilling as a careless Nazi gunslinger, someone who has grown tired of rhetoric and inaction and decides to use The Turner Diaries as a blueprint for a violent uprising within the United States. Hoult portrays Matthews as both charismatic and terrifying, making it easy to see how he could recruit others to his cause. His ideals are simplistic - white = good, other races = bad, but the script does a good job of portraying how joining his cult might seem appealing for those who were feeling lost or disenfranchised, and we see this when he recruits a new member at the Sunday proud boy barbeque.

Jude Law delivers a deliciously nuanced performance as Husk, a lawman who says he wants to take it easy while continuously doing the opposite. Husk is a character full of contradictions, one who at times mirrors Matthews and Law captures this complexity beautifully. There are a few times that Law gets to really show his chops - there’s a scene where he’s unable to foil a robbery in process, partly because he didn’t have proper backup, and his frustration leaks through the screen. His ability to convey a mix of anger, guilt and determination is a testament to his skill as an actor. His mustache game is on point too.

Not to be outdone, Tye Sheridan also deserves mention for his role as Jamie Bowen. While his character has less screen time than Law or Hoult, he makes the most of it. His enthusiasm matches Husk’s nicely and I liked the way they played off of one another.

A Sobering Reflection on Extremism

Another aspect that made The Order compelling is its exploration of extremist ideologies and their consequences. The film doesn’t shy away from uncomfortable truths about how groups like The Order recruit and radicalize individuals. It shows how economic instability, social isolation and a sense of disillusionment can create fertile ground for hate to take root. When he’s recruiting Tony Torres, for example, he uses a combination of fearmongering and false promises of belonging to manipulate him.

Unfortunately, it made me reflect on the fact that in 1983, Nazis used to have to hide on farms in the middle of nowhere because America still remembered that Nazis were bad. It was one thing all political sides could agree on. Now, they’re in the White House and posting proudly on Facebook and what used to be called Twitter. It’s a bleak reflection of our current reality, but one that makes films like The Order all the more important. By shining a light on the dark corners of history, we’re challenged to confront uncomfortable truths. If only we would learn from them. Maybe someday we’ll all once again agree that the only good Nazi…is a dead one.