A House of Dynamite is a masterclass of fine performances marred by a frustrating finale.

★★★

Spoiler warning: this article contains spoilers for the film's ending.

Kathryn Bigelow's long-awaited return to the geo-political thriller landscape with A House of Dynamite is a technically superb and tense piece of filmmaking. The film, currently streaming on Netflix meticulously examines the 18-minute window of chaos that follows the detection of an unattributed nuclear missile on an interception course with Chicago.

Structured as a three-part, Rashomon-style narrative that replays the same timeframe from various perspectives, the film brilliantly captures the claustrophobia and psychological weight of high-stakes decision-making.

The film's most undeniable achievement lies in its ensemble cast, which provides the necessary grounding for such an abstract, existential threat. The casting choices are impeccable, transforming what could have been a procedural exercise into a deeply felt human crisis. Idris Elba, as the U.S. President, delivers a performance of measured gravitas, portraying a Commander-in-Chief burdened by the enormity of his ultimate choice, rather than driven by political ambition. He is expertly complemented by Rebecca Ferguson as Captain Olivia Walker, the Situation Room linchpin whose competence only barely masks the terror of the unfolding event and thoughts of her family. The always watchable Jared Harris provides the film’s devastating emotional core as the Secretary of Defense, whose professional obligation collides brutally with his personal life, adding an essential layer of vulnerability to the political machinery. These performances ensure that even the most jargon-heavy scenes crackle with authentic psychological realism.

However, the powerful tension generated by these elite performances and Bigelow’s taut direction is profoundly undermined by the controversial final moments. After nearly two hours of relentless escalation and build-up, in which the fate of millions hangs on a single command, the film chooses intentional ambiguity over dramatic resolution. The screen abruptly cuts to black just as the President is poised to make his definitive choice on retaliation. While this device is clearly an attempt by the filmmakers to create a chilling, thematic statement about nuclear horror, it ultimately violates the narrative contract established with the audience. This abrupt cessation of action feels less like a profound intellectual challenge and more like a frustrating cinematic cop-out, preventing the cathartic release I had been intensely prepared for.

A House of Dynamite is a technically masterful depiction of crisis management, required viewing for the calibre of its acting and its claustrophobic intensity. Apart from its ending, it's a great return to form for Kathryn Bigelow.