Justin Kurzel’s The Order opens with a sound familiar to podcast aficionados: a Marc Maron monologue. Deploying a slightly more nasally voice to embody the late Denver talk radio host Alan Berg, Maron delivers a searing broadside against far-right agitators as “too inept to be in the world” and thus “get by on the curtailing of others’ enjoyment.” Zach Baylin’s script uses the shock jock as The Order’s equivalent to a Greek chorus, loudly screaming its condemnation of anti-Semitism as exhibited by the eponymous domestic terrorist group.

Mercifully, this isn’t the extent of political dialogue in The Order—especially given the recent lack of efficacy in simply trying to yell “Nazis bad” to stop the rise of the far right. The version of white separatism on display here is less alarming because of signifiers like skinheads and swastikas. Rather, it’s terrifying because the film clarifies...