The threat of nuclear war is still felt under the pressure of today’s thorny global politics. There is an acceptance that the so-called “house of dynamite”, or the military arsenal of the world’s greatest powers, should be enough to deter such destructive weapons from ever being used. This fear is what Oscar-winning director Kathryn Bigelow (The Hurt Locker, Zero Dark Thirty) is trying to confront in her first feature film in 8 years, aptly titled A House of Dynamite (2025). However, you’re better off watching Dr. Strangelove (1964) or Fail Safe (1964), which tackle nuclear hysteria in far more nuanced and interesting ways. Bigelow offers no new insights in this one-note political thriller.
The film begins as a convoy of army vehicles arrives at a military base. Everything is normal at first, but that quickly changes when an unattributed missile is detected in the Pacific Ocean. Instantly, speculations arise about it being a North Korean or Russian nuke, given the direction it’s travelling from. A satellite fault means its origin remains unknown, leaving U.S. intelligence in the dark about who has potentially caused a third World War. Top-level officials must prepare for the worst-case scenario of a major U.S. city being attacked, and if there can be any sort of retaliation on their end before the missile reaches its target.
The Doomsday Clock Hits Midnight
During an emergency meeting with key figures in the White House situation room, it’s revealed that the missile is on course to hit American soil. Chicago, Indianapolis, and a few other cities are determined to be at risk of nuclear destruction. Naturally, they act fast by launching defense missiles to neutralize the threat and end this nightmare scenario. But if that doesn’t work, all eyes look toward the President of the United States (played by Idris Elba) for the next move.
A House of Dynamite features a revolving door of characters. A soldier portrayed by Anthony Ramos (Twisters, The Bad Guys 2) is the first notable face, who is soon joined by the situation room senior duty officer, Olivia Walker (played by Rebecca Ferguson of Dune and Mission: Impossible fame). Jared Harris (Foundation) has a beefy role alongside Elba’s President, as well. The performances on the whole are merely fine; they deliver lines from a script that could have been written in one’s sleep. To much frustration, screenwriter Noah Oppenheim (Zero Day) hits just about every stereotype in the book.
Acting-wise, Greta Lee (Past Lives) shines with her little screentime. However, her character is peculiarly seen attending a battle reenactment with her son — a hollow narrative tactic to create tension that is then incessantly repeated. Nearly all the main characters are shown caring for people they love, as the movie introduces their children, pregnant wives, and other relatives to build stakes. It’s lazy, eye-rolling storytelling that becomes increasingly tedious.
Kathryn Bigelow Refuses to Critique the U.S. Military
Structured in three parts, A House of Dynamite showcases the United States’ approach to a nuclear attack from different departments. This framework ultimately proves to be ineffective, as each chapter features repetitive dialogue and doesn’t add up to anything. The story might as well wrap up after the first section, as nothing new or interesting comes to fruition. A House of Dynamite, at its core, is about pulling the curtain back on how the U.S. would respond to a nuclear threat in real time. Yet, director Kathryn Bigelow never acknowledges why the “house of dynamite” exists, nor does she question the American military’s actions.
The characters contemplate striking every country that poses a threat without determining the actual origin of the missile. Yes, the lack of time to address the situation will likely lead to rushed decision-making. The movie says nothing about how quickly the country is willing to engage in war, though, even without a known enemy. There is a chance for introspection here, but Bigelow blindly glosses over any criticism of the military. A House of Dynamite is more interested in analyzing the fear that comes with deciding the fate of the nation. Still, it’s hard to connect with these powerful figures, as the film ignores the American citizens who would feel the full force of such an atomic explosion.
A House of Dynamite is Devoid of all Tension
A House of Dynamite lacks visual intrigue; like its formulaic writing, it hits all the usual beats of a political thriller. Destabilized camera work is employed to build tension, while documentary-style zooms contribute to the film’s realism. For some, Kathryn Bigelow’s go-to style might work, but for others, it can be viewed as distracting and empty, as it forcibly spoon-feeds the script’s themes down the audience’s throat. Intense close-ups and some dramatic lighting would go a long way. Instead, the movie opts for a more naturalistic lighting approach and intrusive camerawork that doesn’t give the actors much room to breathe.
Finally, the music is strangely similar to that of Conclave (2024), which composer Volker Bertelmann also worked on, though it’s probably the most effective source of attempted tension building. That said, I was never on the edge of my seat. Kathryn Bigelow’s nuclear war thriller stumbles at the first hurdle as the actors do their best with a shockingly poor screenplay. Every stereotypical line for this kind of story is said, the plot structure is redundant, and the characters are one-dimensional. It’s an action thriller without the action, leaving viewers on an abrupt and disappointing note as Bigelow’s film concludes after its third time repeating the same scenes, over and over again.
A House of Dynamite premiered at the 2025 Venice Film Festival! The movie will be released in select theaters on October 10 and will then be available to stream on Netflix on October 24.
Release Date: October 10, 2025.
Directed by Kathryn Bigelow.
Written by Noah Oppenheim.
Produced by Kathryn Bigelow, Noah Oppenheim, & Greg Shapiro.
Executive Producers: Brian Bell & Sarah Bremner.
Main Cast: Rebecca Ferguson, Idris Elba, Gabriel Basso, Jared Harris, Tracy Letts, Anthony Ramos, Moses Ingram, Jonah Hauer-King, Greta Lee, Jason Clarke, Malachi Beasley, Brian Tee, Brittany O’Grady, Gbenga Akinnagbe, Willa Fitzgerald, Renée Elise Goldsberry, Kyle Allen, Kaitlyn Dever, Francesca Carpanini, & Abubakr Ali.
Cinematographer: Barry Ackroyd.
Composer: Volker Bertelmann.
Production Companies: First Light Pictures, Prologue Entertainment, & Kingsgate Films.
Distributor: Netflix.
Runtime: 112 minutes.
Rated R.
