The Order

Law and Hoult’s differing energies turn the film into something more than a mere crime drama; it begins to feel like an eternal struggle with existential, civilizational consequences. This is an unforgettable movie.

The Order is an enormously effective thriller, and yes, a timely reminder that there has never been a time in this land when darkness and hate didn’t thrive, and in numbers.

At it’s core, however, The Order is really a horror film, made all the more frightening because the monsters who live on these Everytown, USA, Maple Streets seem way too prevalent at the present moment.

The robberies and shootouts are staged to brilliant effect. And even the over-the-top acting moments can be forgiven by the “period piece” nature of the history being told.

The film is also a chilling slice of historical memory in the ways it studies one of the earliest iterations of the version of white nationalism currently insinuating itself into American politics — and its haunting understanding of the insidious creep of such beliefs.

The fight against fascism is a serious business, now more than ever, and it is right that Kurzel treats it seriously, but this means his movie feels constrained tonally and the finale is weirdly protracted and even anticlimactic. Yet The Order maintains a drumbeat of tension to the last.

The Order is one of those: yet another Movie We Need Now, but the director inadvertently makes the case that maybe we don’t.

“The Order” turned out to be a real **** cinematography is outstanding, with carefully crafted lighting and color choices that add depth and tension to the story. Justin Kurzel’s direction is sharp and confident, balancing intimate moments with more intense sequences without ever losing grip. The performances are excellent: the acting feels authentic, never exaggerated, and the characters are well-defined, each with a clear identity. The dialogues sound natural and believable, which really helps ground the narrative.Another highlight is the pacing—the film flows smoothly, with no dead spots, keeping you engaged all the way through. In short: The Order combines visual flair, strong direction, and solid acting. It might not be the year’s biggest blockbuster, but (in my opinion) for anyone who values well-crafted cinema, it’s definitely worth watching.

Jude law is excellent. But this film is mid, the source material doesn't have the punch required to elevate this movie into exciting territory.

(Mauro Lanari) Pastor Butler vs. the terrorist Mathews. While Kurzel focuses on the latter, realizing his final will ("Cattle die, kinsmen die, I too shall die, but the one thing that I know that never dies, it's the fame of a dead man's deeds"), that is, making him a charismatic character, a martyr glorified for posterity, precisely the very people who carried out the Capitol Hill assault he claims to be denouncing – he dismisses in a single sentence what truly happened and what Butler had foreseen: "In 10 years, we'll have members in the Congress, the Senate. That's how you make change, but progress takes time". Problems among the Dems? Perhaps the Vogue covers haven't helped either side of the Atlantic (January 10, 2021: Harris; April 25, 2023: Schlein; October 11, 2024: Harris again), even though in the meantime controversy has arisen about the opposite: the lack of attention paid to centrists. This year, during the celebrations for the 50th anniversary of the release of the first "Fantozzi", some finally noticed that Villaggio never proposed an exit from the most classic of battles between the poor in the name of a paradigmatic shift towards political models opposing social Spencerism, like for example the French collectivism of Saint-Simon, Fourier and Owen. On the contrary, once made aware of this mechanism, the exploited class prefers to act within the pre-existing paradigm, leaving the last place to someone else. This is what Trump's electoral offer boils down to, and it has worked brilliantly at least ****: I wouldn't bring Spike Lee into it. Too busy curating his look, rooting for the Knicks, and attending Slam finals.

Es un juego que no es un juego. Es una peli que, de vez en cuando, pulsas los botones que te dicen que pulses. Totalmente olvidable.

« The Order », en voilà un titre intrigant, sujet à suspense et surtout à conspiration ! car en effet des comploteurs complotent dans leur coin en ce début des années 80, en l’occurrence un groupe de **** armés et vindicatifs, suprématistes de leur état etc, etc… Mais pour mener à bien leur insurrection, ils ont besoin de beaucoup d’argent, aussi s’en remettent-ils à la bonne vieille méthode : les braquages ! on a donc ici à peu près deux attaques de banques et une attaque de fourgon. Elles ne durent pas bien longtemps mais sont bien réalisées et constituent le seul intérêt du film : c’est pour ça que je mets 1 (quand même). Car le reste, tout le reste est chiant à mourir. Le film a en effet l’allant d’un escargot coincé dans une côte (il doit être à San Francisco) et le charisme de deux vieux beignets pas frais (c’est pour ça qu’ils sont vieux, me dira-t-on). La distribution n’est pas au mieux non plus et pédale dans la vieille choucroute d’un téléfilm élimé qui sent le navet périmenaze. Non franchement, c’est tellement plat et ramolli, tellement transparent, avec en plus un arrière-goût de notre époque SJW donneuse de leçons… Non, voyez plutôt « Red State », c’est dans le même genre mais en très réussi, oui, oui, pas comme cette merde « The Order » de mon cul !