Venice Review: Kathryn Bigelow's A House of Dynamite is a Relentlessly Effective Thriller

      If human life were to virtually come to a standstill tomorrow, would it be because of a) the rash decisions of a military hothead, b) the low success rate of even the most advanced interceptor missiles, or c) some other mix of worst-case scenarios? These are among the scenarios explored in A House of Dynamite, Katheryn Bigelow's first film in eight years, a narrative as volatile as its title indicates. The cast features Idris Elba, Rebecca Ferguson, Jared Harris, and Jason Clarke, but the central focus is on a single, rogue nuclear missile. This unseen and unforeseen harbinger of destruction is on its way to Chicago and is set to detonate in twenty minutes—unless those in authority can avert the disaster.

      The narrative is divided into three segments, each approximately half an hour long, told from different pairs of viewpoints, all culminating in a similar cliffhanger, which inevitably results in diminishing impact. The initial segment occurs in both the White House (where Ferguson shines) and a missile launch facility (where Anthony Ramos issues commands). The second focuses on an eager general (Tracy Letts) proposing a preemptive counterstrike, along with a jittery NSA advisor (Gabriel Basso, in a significant shift from his role as JD Vance), who calls for calm. In the final segment, we have a self-serving defense secretary (Jared Harris), a brief appearance by Kaitlyn Dever as his daughter, and ultimately the president himself (Idris Elba). Many things do not proceed as planned.

      A House of Dynamite is penned by Noah Oppenheim, the writer behind Pablo Larraín’s acclaimed Jackie and the recent Netflix series Zero Day, which shares some of Dynamite's less successful traits. The level of detail is commendable, yet the tone can sometimes be oddly playful, teetering on the edge of absurdity—at one point, which elicited significant laughter during the Venice press screening, a character tries to rise to the occasion by referencing something he heard on a podcast. More frequently, however, Bigelow maintains control. She knows how to keep an audience engaged and does so with relentless precision—if anything, any brief moment of relief the film offers will likely be spent contemplating the precariousness of the situation.

      For a director whose recent works have earned her a reputation for capturing the political climate in all its complex uncertainties, the directness of Bigelow’s latest film is jarring. A House of Dynamite is a more frightening, less preachy film than others like Don’t Look Up, yet it remains just as instructive and straightforward in its messaging. Produced by Netflix, and although filmed by Bigelow’s frequent collaborator Barry Ackroyd and featuring notable sound design, it still carries the familiar and uninspired style typical of the streaming giant. While I recognize that few will experience it on a screen as large as Venice’s Salle Darsena, I find it hard to recall any striking visuals amidst its rooms, screens, video calls, and drone footage. At her peak, Bigelow is a remarkable visual storyteller—is it unreasonable to expect a bit more? Nevertheless, A House of Dynamite is a brutally effective thriller, undeniably timely, and has the potential to capture a vast audience. These are all positives.

      A House of Dynamite premiered at the Venice Film Festival and is set to open in theaters on October 10, followed by its arrival on Netflix on October 24.