Welcome to another FlixChatter double review edition! I thought I’d combine these two films as both are based on real events dealing with threats of terrorism, albeit from two different groups. Both are excellent, gripping thrillers I highly recommend.

THE ORDER

The Order refers to a Neo-Nazi terrorist group that was active in the U.S. during the early ’80s. They financed their activities through violent bank heists, counterfeiting, and armored car robberies. They’re so ruthless that they won’t think twice about taking out one of their own, which is evident in the intense opening scene that kicks off an investigation led by Feds agent Terry Husk (Jude Law).

Directed by Justin Kurzel and penned by Zach Baylin, this tale draws inspiration from the 1989 non-fiction book The Silent Brotherhood, authored by Kevin Flynn and Gary Gerhardt. The London-born Law seems a bit of an odd choice as an American FBI agent but he’s pretty convincing here and there’s a compelling world-weariness of his character. Husk forms a rapport with a local cop Jamie Bowen (Tye Sheridan) Husk sort of takes him under his wing. There’s a scene where Bowen totally froze up when Husk needed him to cover for him, and that feels pretty realistic. A lot of thrillers tend to make small-town cops seem way more seasoned than they really are. As for the supporting cast, it’s inspired casting to see famous podcaster Marc Maron as a popular radio personality Alan Berg; while Jurnee Smollett plays another bad-ass character as Husk’s fellow FBI agent.

Nicholas Hoult delivers yet another memorable turn this year as Bob Mathews, the radical charismatic leader of the group (amazing that he still inspires menace with that haircut). DP Adam Arkapaw, Kurzel’s longtime collaborator, showcased the resplendent beauty of the Pacific Northwest, though it was filmed in Alberta Canada. The wide shots are absolutely stunning, which also makes it quite eerie given the growing white nationalist group’s movement.

Australian director Kurzel seems to have a fascination with outlaw and/or gang leaders, as his last film was about Ned Kelly. Having seen two of his previous films, Macbeth and Assassin’s Creed, I’d say this is his strongest work to date. The pacing is solid throughout the almost two-hour runtime, and I found myself completely drawn into the story and its characters. The direction is captivating, even during the quieter scenes, especially when Mathews and Husk first meet with a majestic natural backdrop behind them. The director’s brother, Jed Kurzel, delivers a subtle yet impactful score that ramps up the tension during the action scenes. There’s a bit of mystery about Mathews and Husk’s unspoken connection that’s left unexplained. When you see the film, Husk’s action in the finale might leave you scratching your head as I did.

In any case, True crime enthusiasts are likely going to love this, but what really got to me was how it’s set in the daily lives of a tight-knit community, making a particular death hit harder than I thought it would. I appreciate how Kurzel allows the emotions to hit you when Husk delivers the heartbreaking news to a family member. Law’s emotional reaction really brings out his humanity, setting him apart from the typical federal agent stereotype. The Order is a gripping thriller that hits close to home, reflecting the current reality where white supremacy lurks like a hidden disease, which can surface when we let our guard down.

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SEPTEMBER 5

There have been plenty of films and documentaries about the 1972 Munich Olympics hostage crisis. The most famous one is Steven Spielberg’s 2005 film, Munich, starring Eric Bana.

The two films come at it from different angles. While Munich dives into the pursuit of the terrorists involved, September 5 focuses on the ABC Sports crew reporting on the events. Directed by Swiss filmmaker Tim Fehlbaum, the film is set almost entirely in the ABC control room where its sports crew covers the Olympics. It was just another day at the office when a few crew members heard shots being fired in the distance.

September 5 is a terrific ensemble piece, consisting of Peter Sarsgaard as ABC Sports President Roone Arledge, John Magaro as producer Geoffrey Mason, Ben Chaplin as the VP of Olympic Coverage Marvin Bader, and Leonie Benesch as German Interpreter Marianne Gebhardt. Gebhardt is perhaps the underrated MVP of the team, and I’m not just saying this because she is a woman. Fehlbaum subtly includes moments where Gebhardt is underestimated by her peers while providing invaluable intel that makes a great deal of impact on the team. She is always calm under fire and her responses are always on point.

The film feels authentic, thanks to its documentary-style approach. It employs hand-held camera techniques, and a grainy film stock look, and includes archival footage of Jim McKay covering the tragedy. The fact that we already know how this event turns out doesn’t take away from the suspense and feeling of unease that hangs in the air from beginning to end. The mood is mostly grim with an appropriate sense of dread, but there are certain moments of levity to break the tension. It’s amusing to see a crew member Gary (Daniel Adeosun) posing as an Olympic athlete to bypass security as they have to sneak tapes back and forth from the control room to the Olympic village where Peter Jennings (Benjamin Walker) is reporting. Walker’s casting choice feels a bit off, definitely not as impactful as Christopher Plummer’s role as Mike Wallace in The Insider.

I love journalism movies that capture the high-stakes nature of the profession. It’s especially remarkable that the sports crew quickly adapted to the situation and switched gears to act as news reporters given the proximity to the unfolding events. The key players had to wrestle with a difficult decision about what to reveal, balancing their choices between what they could share and what they were required to cover. I gasped the moment they realized that the terrorists were observing everything in real-time, just like everyone else, which understandably put the hostages at greater risk.

The film really brings out the raw emotions and challenges of live broadcasting during such a global disaster, while also pointing out how the West German Police were totally unprepared to handle the crisis. The fact that the German army couldn’t step in due to the restrictions of West Germany’s post-war constitution adds to the complications. With the ongoing conflict in Gaza and the alarming rise of antisemitism globally, this thriller about Black September feels eerily relevant. I still get chills watching this shocking event unfold on screen, even though I already know the tragic outcome that happened over 50 years ago.

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What are your thoughts on these two films?

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