Imagine you have merely 19 minutes before a nuclear conflict erupts. What measures could you undertake to avert this, or what unfinished matters would you resolve? This disquieting inquiry lies at the core of *A House of Dynamite*. Academy Award-winning filmmaker Kathryn Bigelow (*The Hurt Locker*) teams up with *Zero Day* author Noah Oppenheim and a remarkable ensemble cast to portray a situation in which a foe of the United States sends a missile toward a significant metropolis.

In mere moments, military personnel, politicians, and officials shift from a typical day to a pivotal moment influencing millions across the globe. Every decision must transpire within a 19-minute limit.

Idris Elba plays the role of the U.S. president, aided by a cast that includes Rebecca Ferguson, Greta Lee, Anthony Ramos, Gabriel Basso, Jared Harris, Moses Ingram, Jason Clarke, Renée Elise Goldsberry, Kaitlyn Dever, and Tracy Letts. However, this is not your standard American movie that celebrates a heroic president rescuing the world.

Bigelow’s varied portfolio, from the surreal *Strange Days* and electrifying *Point Break* to the harrowing *Zero Dark Thirty* and heartfelt *Detroit*, steers clear of feel-good fantasies. With *A House of Dynamite*, she issues a passionate plea for disarmament, despite the film’s anxiety-inducing and exasperating nature.

**A House of Dynamite** unfolds a nightmarish scenario through a gripping triptych.

The film begins in Washington, D.C., on a bright morning as government employees nonchalantly navigate security to take their positions at monitoring devices and computer screens. They hold personal mementos: an engagement ring, a toy dinosaur from a sick child, a cellphone with a photo of a beloved one. These objects represent what each individual is fighting for beyond their salary, aspiring to create a safer world for their families.

In an engaging first act, Oppenheim’s script adeptly introduces characters collaborating in situation rooms, secure lines, and video calls to tackle any crisis. The narrative centers on Captain Olivia Walker (Rebecca Ferguson), a mother who relishes playing with her child and mentoring a younger colleague, yet is all business in the White House Situation Room when a missile is spotted. A voice on the conference call estimates 19 minutes until impact.

This 19-minute interval is examined in each section, concentrating on different groups with varying leading characters. As the first act approaches its climax, the film rewinds 20 minutes for a chapter entitled “Hitting a Bullet with a Bullet.” The second act focuses on Deputy National Security Advisor Jake Baerington (Gabriel Basso), who humorously finds himself tardy on the most consequential day of his existence.

Baerington takes a vital Zoom call from his cellphone while hurrying to the office. His frantic dash is amusing at first but escalates to tension as the stakes become clear. He guides us through tense discussions with foreign diplomats, attempting to trace the missile’s source so the president can determine the optimal response. As the countdown nears its end, the clock resets once more.

The third chapter, “A House Full of Dynamite,” shifts the focus to the president (Elba). Previously only heard on the conference call, his actions are finally unveiled. However, this chapter is where the film begins to lose its momentum.

**A House of Dynamite** is overwhelmingly tense, until it isn’t.

In the first chapter, disembodied voices deliver expository lines about the bomb’s trajectory, timing, and potential casualties. As the timeline resets, these voices evolve into on-screen characters whose narratives provide context. Oppenheim immerses us effectively in the initial confusion, then allows us to step back and comprehend the possible consequences. It’s an absorbing lecture, despite the grim answers.

However, with a 112-minute runtime, *A House of Dynamite* tests our endurance. The third act shifts focus, showcasing the president’s and secretary of defense’s (Jared Harris) engagements. What was character development in earlier acts feels like padding as we anxiously await the conclusion. The third act regains energy as these men spring into action. Elba and Harris deliver performances that encapsulate the weight and tenderness of their choices.

Despite the frustrating pace, the outstanding cast nearly salvages the concluding act. The film traverses military installations worldwide, wrestling with the crisis. Bigelow’s clear vision preserves coherence amidst the turmoil. Yet, *A House of Dynamite* intentionally grows frustrating.

**You’ll find the ending of *A House of Dynamite* unsatisfying.**

Viewers will likely find the ending displeasing, as I did, yet it is logical. Oppenheim and Bigelow aim to depict the devastation of nuclear war in an epic, Hollywood fashion, using star power and suspense to communicate their message.

Each generation since the inception of the atomic bomb may require such a reminder through compelling art. Watching this film, I recalled Pat Frank’s novel *Alas, Babylon*, which I encountered in high school and