Kathryn Bigelow’s new film, “A House of Dynamite,” presents a stark scenario: a mysterious missile launch looms over the American Midwest. Initially, the response at the White House is one of procedural calm, but this quickly escalates into a desperate race against time. The film employs a “Rashomon”-style narrative, replaying the unfolding crisis from multiple perspectives, which Bigelow uses as a powerful tool to underscore the fragility of normalcy in the face of nuclear threat. The movie starkly declares that the era of decreasing nuclear weapons is over, adding a layer of contemporary urgency to its themes.
“A House of Dynamite” enters a cinematic landscape increasingly occupied by nuclear anxiety, following in the footsteps of classics like “Dr. Strangelove” and “Fail Safe,” and recent hits like “Oppenheimer.” Bigelow, however, brings her distinct, granular approach to the subject, crafting a real-time thriller that, despite its explosive start, struggles to maintain its momentum through its repeated narrative cycles.
The film’s strongest section is its opening, which meticulously depicts a routine morning shattered by the alert of an unsighted intercontinental ballistic missile. As the missile’s trajectory is confirmed towards Chicago, the escalating DEFCON levels and the rediscovery of old protocols highlight the chillingly slow bureaucratic response. The tension builds as characters, like Captain Olivia Walker, grapple with the human desire to connect with loved ones amidst the impending catastrophe.
However, the narrative’s rewind-and-replay structure, while initially effective in reinforcing the shock of potential devastation, begins to feel repetitive. The second and third acts, exploring the viewpoints of National Security Advisor Jake Baerington and the President, respectively, tread familiar ground. This structural choice, unfortunately, dampens the film’s initial explosive impact, leaving some performances, like Elba’s, searching for firmer footing.
Despite these structural drawbacks, Bigelow’s masterful direction ensures the film remains a compelling watch. Her skill in transforming real-life crises into heart-pounding thrillers is evident, and the ensemble cast delivers strong performances. Yet, as the narrative ascends the chain of command, the film’s grip on plausibility begins to loosen.
Rated R for language, “A House of Dynamite” runs for 112 minutes. It earns two and a half stars out of four, offering a timely, albeit imperfect, meditation on nuclear preparedness.
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