Nicholas Hoult is so fascinating in “The Order” you want him to be the focus.

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Unfortunately, the film is built around Jude Law as an FBI agent trying to capture Hoult’s Bob Mathews and shut down his white supremacist group.

Because we have to get to know the hunter, we don’t get much time to understand the hunted.

Jude Law plays an FBI agent tracking a cult in "The Order." 

Based in fact, the drama has a cat-and-mouse quality, but it sparks whenever director Justin Kurzel heads into the Pacific Northwest compound where Mathews is assembling like-minded people.

In those scenes, you get a sense of the growing discontent with the government and a desire to “set things right” in the country. Hoult delivers powerful speeches and has seminal moments with his detractors and superiors.

Law, however, is the film’s lead so time must be spent telling something of his story – his past transgressions, his failing health, his personal stake in doing what’s right. Kurzel includes his time with local law enforcement (Tye Sheridan is particularly good), but that’s filler until they head out on the trail of The Order, the group Mathews is leading. They have no idea where that might wind up.

Jude Law, from left, leads a team closing in on a group of white supremacists in "The Order." Joining him are Jurnee Smollett and Tye Sheridan. 

In those sparse moments at home, Hoult shows compassion and care, reading to his son, comforting his wife.

When the lens broadens, we realize he has a mistress and a disconnect with those who got him started in the religion.

When Mathews finally encounters Law’s Terry Husk, there’s a dance that suggests animals in the woods. They don’t exactly become best friends, but there is an awareness that continues throughout the film.

Nicholas Hoult stars in "The Order." 

When Kurzel zooms in on Hoult, “The Order” is a chilling account of a specific piece of American history. When he strays over to Law, it’s a generic cops-and-robbers film.

Marc Maron slips in as radio show host; Philip Granger is hard to pin as Sheridan’s boss.

Because he’s juggling so many characters, Kurzel can’t make this the “Bonnie and Clyde” it wants to be.

Giving Hoult top billing (and telling the story from his perspective) might have provided the order it needs. Instead, the story settles in and, instead of documenting history, becomes a crime thriller where the resolution is obvious.


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