Kathryn Bigelow returns to geopolitical thriller territory with A House of Dynamite.
This Netflix release starring Idris Elba, Rebecca Ferguson, and Gabriel Basso ditches disaster movie spectacle for something more psychologically penetrating. The result is one of the year’s best films.
Three Perspectives, One Catastrophic Day
After a brief preamble, the film divides into three segments of roughly 30-40 minutes each. Each vignette follows different characters through the same window of time.
A nuclear missile speeds toward the United States, and impact is imminent.
The structure recalls films like Babel or Traffic. But Bigelow isn’t interested in demonstrating interconnectedness. She’s exploring how crisis fractures experience along lines of power, responsibility, and proximity to catastrophe.
An Ensemble at the Top of Their Game
The first segment of the film follows Captain Olivia Walker (Rebecca Ferguson). The second centers on Deputy National Security Advisor Jake Baerington (Gabriel Basso).
The third observes a President of the United States played by Idris Elba.
This is very much an ensemble piece. No single character dominates, though each vignette has its focal point. Ferguson delivers committed work, even if her modernized Mid-Atlantic accent occasionally slips.
The character work is also excellent across the board, featuring moments that feel both propulsive and naturalistic. Even minor roles feel fully inhabited, due in obvious part to great casting at all levels.
Oppenheim’s Screenplay Finds Its Groove
Noah Oppenheim’s screenplay is a significant step up from his previous work on the middling television series Zero Day. The dialogue crackles with energy while maintaining a naturalistic quality, and everything feels grounded and believable.
The plotting is tight as well, and the writing trusts the audience to follow complex bureaucratic and military maneuvering without excessive hand-holding or unnecessary verbal exposition.
Tension Sans Explosions
Bigelow operates at the height of her powers here. Calling this an action thriller might oversell the visceral elements, but it’s undeniably exciting and fully alive. The tension sustains throughout, with key climactic moments.
This director understands that sometimes the most terrifying action is the absence of clarity or explicit violence. The paralysis of waiting for the unthinkable creates its own horror. High-ranking officials evacuate to safety while others remain behind, often for reasons even the people involved struggle with.
The targeted city remains mostly in the background, a specter haunting every frame. A FEMA center’s numbers-minded deputy receives evacuation orders. We never see the missile’s impact or its aftermath.
What We Don’t See Matters Most
What A House of Dynamite conspicuously withholds is as important as what it shows. The film conveys with devastating clarity what these characters experience and will continue to experience. The emotional weight doesn’t come from destruction porn.
Instead, we watch people grapple with their own helplessness, complicity, or duty. They face an apocalypse, and we face it with them.
A Masterclass in Intelligent Filmmaking
A House of Dynamite is one of the ten best films of the year. It’s a mature, intelligent thriller that trusts its audience to sit with discomfort. The kind of film that deserves serious awards consideration.
Its mixed release of a limited theatrical run, followed by Netflix streaming, alongside autumn timing, may complicate its obvious awards season potential, however.
Still, Bigelow has crafted something truly remarkable. She understands crisis not as spectacle but as the terrible, intimate moment when the world fundamentally changes.
A House of Dynamite will be available in select theaters on October 10th and will stream on Netflix beginning October 24th.
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Quinn Que
Quinn Que is a storyteller & journalist writing regular interviews, reviews, and features. They've been fascinated with the multidisciplinary arts since a child, particularly film, literature, and television. They love microblogging, so feel free to hit them up on Twitter (X), Substack Notes, or Tumblr about any recent articles or just to shoot the pop culture breeze!