A HOUSE OF DYNAMITE: a master filmmaker reminds us of the terrifyingly plausible

Photo caption: Rebecca Ferguson in A HOUSE OF DYNAMITE. Courtesy of Netflix.

In Kathryn Bigelow’s thoughtful nail-biter A House of Dynamite, a ballistic missile armed with a nuclear warhead is on its way to annihilate an American city. American military and national security officials have only minutes to act. That’s a terrifying scenario, and Bigelow knows that portraying it in exacting, realistic detail is very, very scary. She also forces the audience to undertake an intellectual exercise, thinking through What would I do?

All of us Americans – and all the Russian people – understand that if Russia were to launch a nuclear strike on the US, that the US would then automatically retaliate and destroy the military and economic capacity of Russia, along with most of its residents.  And vice-versa.  In that case, all the decision-makers know the procedures to implement, already carefully thought out in advance.

But what happens if we don’t know WHO has fired a nuclear warhead at us?  That very central ambiguity would make decisions very much NOT automatic.

Most of us know that the US President is shadowed by a military officer carrying a briefcase (“the football”) that contains the codes authorizing nuclear warfare.  Some of us know that select officials would be evacuated to nuke-proof bunkers. And that, in the event our top 36 leaders are wiped out at once, there’s a 37th person designated to take command. Here, Bigelow takes us inside to show us what all this would actually look like.

Most of the national security chain of command is highly trained to dal with the situations that the rest of see only as vague contingencies.  These folks know exactly what their responsibilities are and what to do.  Of course, they are human, and they recognize the consequences of the actions that they are trained to take and the impacts those situations will have on their loved ones.  I’m talking here about the National Security staff in the situation room, the top military commanders, the folks tasked with launching defensive missiles from their silos and that young guy carrying “the football”,  

But the President and Defense Secretary (try for a moment to forget the current occupants of those offices), press aides and others in the government probably don’t have that background, and must deal with a broadband of topics. With just an orientation briefing when they took office, they would essentially be thinking all this through for the first time, like the rest of us.

Bigelow also reminds us that a crisis may occur when we’re on vacation, running late to work, at some forgettable photo op, or when our spouse is taking the feverish kid to the doctor.  Civil War re-enactments have their value, but juxtaposed with an impending nuclear holocaust… Time waits for no one, as they say.

Idris Elba in A HOUSE OF DYNAMITE. Courtesy of Netflix.

Idris Elba and Jared Harris are superb as the President and Defense Secretary, plunged into a crisis they would never, never have chosen to address.  As the national security and military pros, Rebecca Ferguson, Jason Clarke, Tracey Letts and Anthony Ramos are similarly excellent.

We see so many national security thrillers with ridiculously implausible plots (The Diplomat and Hostage are recent examples) that it’s both welcome and bracing to see a screenplay so realistic. Bigelow gets everything right, down to how female decision-makers in DC wear comfy shoes to the office and change into dress shoes after passing though the metal detector.

I love movies that tell their stories in real time. Here, the key part of the story is only seven minutes long, so Bigelow tells it again and again from the perspective of different characters.

Along with being the first woman to win the Best Director Oscar, Kathryn Bigelow (K-19: The Widowmaker, The Hurt Locker, Zero Dark Thirty) may be our greatest national security filmmaker ever.  A House of Dynamite is thoughtful, chilling and one of the Best Movies of 2025 – So Far.

A House of Dynamite is in theaters and begins streaming on Netflix this Friday. The immersive experience of a movie theater was great for A House of Dynamite; if you’re streaming it at home on Netflix at home, turn off the lights in the room, crank up the volume on the TV and silence the notifications on your phone.

a word about the Oscar nominations

Quvenzhane Wallis in BEASTS OF THE SOUTHERN WILD

Mainly, I’m just so glad that Beasts of the Southern Wild was nominated for Best Picture and that its star Quvenzhane Wallis (now nine years old) was nominated for Best Actress.  Both are very deserving of nominations, and it would have been easy for the Academy to overlook such a small indie film and its first-time director and actress.

For the most part, the Academy avoided leaving out the obviously deserving and rewarding the ridiculously underserving – very few big brainfarts this year.  I am completely baffled that Ben Affleck of Argo and Kathryn Bigelow of Zero Dark Thirty did not receive Best Director nods; (I would have passed over David O. Russell and Michael Haneke).  But that’s just about my only quibble.

Eight of the nine nominees for Best Picture are currently playing at your local theaters (although Amour is harder to find until next weekend).   Beasts of the Southern Wild is available on DVD from Netflix and Redbox and streams from a host of VOD services.

You can also find Flight at the theaters and watch Oscar-nominated Denzel Washington.  The Sessions, with Oscar favorite Helen Hunt, is still lurking in some second run houses.  Among the nominated documentaries, Invisible War is available on Netflix Instant and some VOD services, while Searching for Sugar Man is available from several VOD services (although pricey).

Zero Dark Thirty: a great director’s enthralling tale

Zero Dark Thirty is director Kathryn Bigelow’s inspired telling of the hunt for Bin Laden.  Bigelow, who won the directorial Oscar for The Hurt Locker, once again demonstrates an uncommon ability to enthrall.  She chose to tell the story of the frustrating, wearying and dangerous ten-year man hunt, not just the exciting raid in Abbottabad.

We should all be grateful that this movie was made with Bigelow’s directorial choices.  She is content to invest half of her screen time on false leads and wasted efforts – and makes them utterly gripping.  She neither lingers on the violence nor shies away from it.   In a scene where a CIA operative is looking for a man talking on a cell phone,  the camera pulls back to reveal that he is on a chaotic Pakistani street with hundreds of men on cell phones – perfectly conveying the needle-in-a-haystack aspect of the search.  As  the Navy Seal team returns from the successful raid, the music is deeply thoughtful and reflective, not the triumphalist anthem that many directors would have used.

Zero Dark Thirty contains realistic and non-gratuitous depictions of war, terrorism and torture. The movie is, to my sensibilities, not too uncomfortable for most viewers.   (Tomorrow I will comment on the torture controversy surrounding this movie.)

Jessica Chastain brilliantly plays the CIA analyst who doggedly and passionately pursues an unlikely lead that finally pays off after a ten-year grind.  I’ve already rhapsodized several times about Chastain’s sudden emergence as perhaps our best current screen actress.  She is profoundly gifted and can do anything.   Let’s just say that, as good as Zero Dark Thirty is, she carries it.

The rest of the fine cast includes Jason Clarke (Lawless), Joel Edgerton (Animal Kingdom), Jennifer Ehle (The Ides of March, The King’s Speech), Kyle Chandler (Friday Night Lights), Fares Fares (Safe House), Jeremy Strong (The Guard),  Mark Duplass and James Gandolfini.

I’ve added Zero Dark Thirty to my list of Best Films of 2012.