THE STORY – Centered on White House staffers grappling with an impending missile strike on America, this gripping drama unfolds in real-time as tensions escalate.
THE CAST – Idris Elba, Rebecca Ferguson, Gabriel Basso, Jared Harris, Tracy Letts, Anthony Ramos, Moses Ingram, Jonah Hauer-King, Greta Lee & Jason Clarke
THE TEAM – Kathryn Bigelow (Director) & Noah Oppenheim (Writer)
THE RUNNING TIME – 112 Minutes
For many who are younger, there is little to no understanding of what it really is like to be on the brink of war with widespread consequences. Yes, the invasion of Iraq was a defining moment for an entire generation. Still, that insurgency was localized to a specific region and was presented in a way that allowed Americans to feel a sense of distance from the conflict. It may not have been justified, but the culture didn’t feel the sense of immediate consequences that would result from such an action. That’s why it is fascinating to hear tales from the Cold War, especially the Cuban Missile Crisis. It was an event that many had suspected could lead not just to another World War so soon after the last one had ended, but to global annihilation under nuclear weaponry. It was an unbelievably scary time that most had thought we were past. However, these days, it’s hard not to have those thoughts of doom creep back in. The political landscape is hectic and precarious, and what was thought to be a nearly impossible outcome may not seem so fantastical anymore. “A House of Dynamite” aims to tap into those anxieties, presenting a thoroughly tense, riveting, and captivating spectacle.
It’s a seemingly normal start to the day. Important White House leaders are being briefed on a series of updates around the world. Their staffers are preparing for a busy onslaught of meetings, and on-the-ground forces are monitoring any suspicious activity that could jeopardize the United States. One technician, played by Anthony Ramos, spots something truly alarming: a missile launched from the Pacific Ocean whose trajectory looks to hit a major target within the country. What was believed to be an ineffective test from an unknown hostile nation proves to be a greater threat. The nuclear device is armed, functional, and headed for Chicago. In the command center, Olivia Walker (Rebecca Ferguson) is heading up the operation to try to shoot down the missile. Above her are the staffers, close aides to White House officials who receive the information as it comes in and must make drastic decisions to inform what the next steps must be. Those choices must then be secured by the most high-level positions in government, including the president (Idris Elba). Everyone involved on this harrowing day, no matter where in the chain of command they lie, has to act quickly as an unmitigated disaster inches closer to horrific reality.
It’s been a long absence for Kathryn Bigelow from the cinematic landscape. “Detroit” came out eight years ago, though for many, works like “The Hurt Locker” and “Zero Dark Thirty” represent more of the enticing aspects of her filmography among the masses. From the moment Barry Ackroyd’s cinematography begins to utilize those classic zooms, evoking the documentary-like aesthetics seen previously in her films, you know we are back in the hands of a master storyteller who understands how to craft compelling set pieces. There’s little action in the traditional sense. There are no battlefields filled with explosions or daring military crews executing precisely executed excursions. This is a series of people talking in rooms, but the tension pushes you to the edge of your seat. The scrambling that takes place to retrieve any extra bit of information is exhilarating, and the unfolding chaos descends as quickly as the approaching warhead, making it a taught exercise that hardly leaves room to breathe. The sharp editing enhances the chaotic atmosphere and keeps one invested in this horrific set of circumstances. The sound design also captures the turbulent environment with the overlapping dialogue colliding with yet another overwrought Volker Bertelmann’s score, though this one sounds an awful lot like his work on “Conclave,” it starts to sound nearly identical. Through every frame, Bigelow’s mastery of craft is palpable, and she delivers an engrossing observation that is gripping throughout.
Well, for the most part, it is. Noah Oppenheim’s screenplay is structured into three distinct acts. Each one examines the start of the events, leading all the way up to a possible impact, and every new chapter resets to the beginning of this crisis with a different perspective that unfolds the entire process. These new lenses allow us to view these events differently as we move higher up the food chain. By the time the president and his senior cabinet members are involved, the immediacy of clear information that establishes the stakes feels like distant and unknown figures that exist within several other layers of interpretation. It’s an interesting commentary that those with the most power to make incredibly consequential decisions often lack a complete set of information to inform these sweeping acts. However, the result of this method of storytelling is that the propulsive momentum subsides with every change in viewpoint. A restructuring occurs every time a cut to black and a title card appear to mark the beginning of the next section. By the third instance, the narrative isn’t measuring up to the level of heart-pounding action it started with, even concluding on a muted note that leaves the audience more uncertain about the grave, perilous danger the world is in at this moment. It’s a profound statement that also might leave many underwhelmed.
Another issue that the script faces is what to do with its assortment of characters. The large ensemble features many well-known actors making impactful appearances. Still, the very nature of procedural dramas means that they are mostly props to drive the story along. You can feel the storytelling recognizing this and attempting to include some personal details to give a greater sense of depth to these people. A common occurrence lies in families trying to protect themselves from the incoming danger, but even those showcases can feel overly telegraphed. There’s a particularly rough inclusion of the Secretary of Defense’s daughter that plainly states the hardships with her father and why he feels a sense of obligation to reach out. However, it borders on melodrama, especially in its conclusion, and ultimately feels more emotionally manipulative. There’s a much better scene earlier in the film that shows one soldier calling his mother, knowing the strike is imminent. There’s no big backstory as to what this relationship means. Just a simple conversation that establishes the emotional weight without tipping its hand too much into histrionics. It’s a shame that the pacing can’t keep up with the fast pace established at the start, even though one can appreciate the attempt to find stronger thematic commentary.
With such a large group of actors assembled, it can be difficult for all of them to really make the biggest impression. Fortunately, the stable is full of enough talent that they all stand out, at least for the particular chapter in which their designated section is given the biggest focus. There’s a razor-sharp attention that Ferguson supplies that always makes her an enticing figure to watch, even if it does sound like her accent occasionally slips. She’s a commanding presence that takes charge whenever she’s on screen. Kudos also given to Ramos for providing an engaging energy that matches the escalating tension as well. When we reach one ring above them, there are plenty of aides delivering reams of information with impressive proficiency. Still, it’s hard not to be won over by Tracy Letts as a military officer who has an endearingly crusty persona that evolves into a steely yet anxious resolve. Elba has a calming and endearing presence that represents the measured hand a leader needs to project, and he ends up being the most effective player in his section. Jared Harris as the Defense Secretary is saddled with weak writing, Renée Elise Goldsberry is just the emotionally supportive First Lady, and Jonah Hauer-King provides decent chemistry with Elba but not much else. The very nature of this screenplay makes it hard for anyone to stand out across the entire film, but every member is exceptional at fulfilling their roles within the fabric of this stressful showdown.
A few years after that tense exchange in Cuba in the 1960s, the release of Sidney Lumet’s ” Fail Safe ” saw the release of Sidney Lumet’s “Fail Safe.” That film imagined a horrifying scenario in which a US plane carrying nuclear weapons was headed to drop its payload on Moscow after a communication error sent it to that target. It was a stark and bleak representation of what the escalating Cold War could deliver to the world. Those fears haven’t been with us in some time, and maybe it’s good to have that reminder that actual weapons of mass destruction are in the hands of superpowers who are constantly looking to change the world order, no matter how many lives might be taken. “A House of Dynamite” never finds itself exactly political. Part of the chaos is not only trying to stop this attack but finding the source of it as well, an equally arduous process that features a long list of possible suspects. It’s indicative of the very distrusting nature these countries have with one another, and this film brings yet another frightening scenario to life when one or more choose to act on that self-interest. Getting the perspective from the ground is a thrilling experience, a tightly-wound and taught exercise that’s rather breathtaking. That is, until energy wanes with each new break in the narrative, and the ending isn’t operating on quite the same level of rousing action as when it began. Still, there’s no denying what a powerfully rendered tale this is, both impressive in its filmmaking and performances. It’s a cautionary tale that we hope to never see, but also can’t help but ponder an inevitability that felt just as imminent decades ago.
