When a single, unattributed missile is launched at the United States, a race begins to determine who is responsible and how to respond.
Kathryn Bigelow has returned to feature filmmaking after an eight-year hiatus, her last movie being “Detroit.” Despite critical acclaim, “Detroit” did not perform well commercially. During her hiatus, Bigelow directed two short-form works: “I Am Not A Weapon” in 2018 and a 2021 spot for the iPhone 13 Pro titled “Hollywood in Your Pocket.” Now, she returns with “A House of Dynamite,” a gripping political thriller. The film features an impressive lineup of actors, including Idris Elba, Rebecca Ferguson, Gabriel Basso, Jared Harris, Tracy Letts, Anthony Ramos, Moses Ingram, Jonah Hauer-King, Greta Lee, and Jason Clarke. The final product stands out as one of the year’s best films.
The story is told across three interwoven segments. It opens with Captain Olivia Walker (Rebecca Ferguson), who works out of the White House, monitoring potential threats to national security. When an Intercontinental Ballistic Missile is detected, her team races to trace its origin. The tension only increases when they realize the missile went undetected by U.S. satellites, leaving them in the dark. At the same time, Major Daniel Gonzalez (Anthony Ramos) and his team stationed in Alaska attempt to intercept the missile but fail, leaving just eighteen minutes before Chicago is hit. The urgency is heightened by a sudden evacuation of certain White House staff to a hidden location, while others remain at risk. This first portion ends as the missile makes contact.
The second act centers on General Anthony Brody (Tracy Letts) at U.S. Strategic Command, paralleling earlier events. Here, Brody and his team grapple with how to respond, as the film crosscuts between his deliberations and the earlier characters, ratcheting up the suspense.
In the final part, attention shifts to the President (Idris Elba). This chapter runs concurrently with the others, culminating in the moment the missile explodes. By this point, the narrative threads and characters introduced earlier come together, and voices previously only heard are now seen, deepening the emotional resonance.
Bigelow crafts a chillingly authentic scenario of nuclear disaster, showing a country at its breaking point. As high-level officials are whisked away to safety, those left behind must face the prospect that a single warhead could immediately kill millions, with many more at risk from fallout. The film unfolds in real time, intensifying the suspense and immersing viewers as each section layers onto the next. This structure compels both the audience and the characters to face the enormity of the situation. In a particularly memorable moment, the idea of evacuating Chicago is quickly dismissed—there simply isn’t enough time to do so safely, and authorities decide not to incite chaos.
Strikingly, the movie never actually shows the missile’s explosion. Each segment ends abruptly, offering no resolution. The lingering question—did the missile detonate or was it a dud?—remains unanswered. If it failed, relief would be short-lived, as the inability to detect its launch signals a new, invisible threat from a foe who can strike without warning.
The film’s final section is especially tense. The President’s advisors press for immediate military action to demonstrate power, but he hesitates, not knowing who is responsible. While North Korea is suspected, there’s no ruling out Russia or China. Without hard evidence, the President chooses restraint, listening to his conscience instead of acting rashly. The story concludes at this uncertain crossroads, denying viewers a clear resolution.
Performances throughout are excellent, with Rebecca Ferguson especially noteworthy for her powerful and nuanced portrayal in the film’s opening. Her depiction of strength mixed with vulnerability, particularly as she worries about her family, brings a touch of humanity to the international crisis.
“A House of Dynamite” provides a sobering meditation on the ongoing peril of nuclear warfare in a world no longer defined by the Cold War. With new threats on the rise, Bigelow’s latest film stands as a potent reminder of what’s at stake. It’s not just one of the top films of 2025—it’s essential viewing.
In Select Theaters Friday, October 10th, and on Netflix Friday, October 24th
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