A House of Dynamite Review – 19 minutes until destruction
By Sophie Marx
19 minutes. That is how long it takes until the world is forever altered. 19 minutes for the US Government to make decisions that can cost millions, if not billions, of people their lives.
It was the absurdity of normalcy – peaceful images of a military base, people taking the bus to work – in the opening scenes that created heightened suspense in the IMC cinema. A nuclear missile had been launched on the United States – only no one knew it yet.
Precisely this ability to walk the tightrope between routine and the ever-present awareness that this peace could shatter at any moment that the director Kathryn Bigelow skillfully employed.
As a potential intercontinental ballistic missile is registered in the control room at Fort Greely in Alaska, Major Daniel Gonzales’ team scrambles to evaluate the situation and intercept the incoming warhead. Relaying the real threat inbound for the United States, officials at the White House and another military base attempt to gain control of the situation with the little knowledge they have.
Who is declaring war on the US? Where will the missile strike? And the ultimate question: what will the President decide to do next? Will he order nuclear retaliation against the suspected attacker, or will he keep his head down and hope the attack will not exceed one nuclear missile?
Through the use of tracking and zoom shots, the director effectively closes the distance between the on-screen action and the viewer. The camera moves fluidly with the characters, placing us in the scene as silent observers next to them. This immersive camera work, combined with a tightly woven storyline, gives the thriller a distinct and original tone.
The music, composed by Volker Bertelmann, enhances the tension of key scenes, sustaining suspense throughout. By skillfully blending visuals, sound, and direction, the film achieves a compelling momentum, carried in large part by a standout performance from Rebecca Ferguson as Olivia Walker.
Ferguson’s portrayal of Olivia Walker is marked by the nuances of motherhood, vulnerability, and leadership. As the plot thickens, we see layers of exceptional strength intertwined with despair, creating a gut-wrenching performance.
The film explores a political shift following the post-Cold War reduction of nuclear weapons, claiming that this era has now come to an end. It grapples with humanity, as fear and uncertainty emerge in the wake of the unforeseen attack, all while officials sworn to protect their nation must abide by the protocol. No matter what this will mean for their loved ones.
While international peace and security largely rely on nuclear deterrence, the film illustrates the fragility of this state. It brings up a variety of questions we ought to become aware of as viewers, from the obvious: what happens if one nation breaks the accord? To: what will this one action mean for the world, those involved in the decision-making, and those that will not even know the danger they find themselves in when a nuclear warhead is fired?
Capturing both humanity and the political reality of the situation, A House of Dynamite asks the questions relevant for today’s nuclear reality with a critical, yet insightful illustration.
Rating: ⭐️⭐️⭐️⭐️
