The Big Picture

‘A House of Dynamite’ Is Ready to Explode

October 27, 2025

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  • The theatrical business is shifting toward eventizing movies for dedicated fan bases, evidenced by the box office success of anime like *Chainsaw Man* and Cinemark's expansion of premium 70mm IMAX screens into smaller markets. 
  • Kathryn Bigelow's *A House of Dynamite* features a highly successful, tense first act and strong performances, particularly from Rebecca Ferguson, but ultimately suffers from a widely criticized, implausible, and unsatisfying third act. 
  • The hosts express concern over the decline of modestly sized, star-led adult dramas that rely on traditional word-of-mouth, contrasting them with the success of hyper-niche, dedicated fandoms that drive premium format attendance. 
  • The third act of Kathryn Bigelow's film, 'A House of Dynamite,' was considered a major miscalculation that led to negative audience reactions at its festival debut. 
  • Kelly Reichardt's new film, 'The Mastermind,' is praised for its funny yet devastating critique of male vanity and solipsism, anchored by a wonderful performance from Josh O'Connor. 
  • The discussion highlights the competitive nature of the current Best Score Oscar race, featuring composers like Jonny Greenwood, Ludwig Göransson, and Volker Bertelmann. 

Segments

Podcast Intro and Tagline
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(00:00:09)
  • Key Takeaway: The Big Picture podcast’s opening joke tagline references nuclear deterrence and asymmetric responses.
  • Summary: The hosts, Sean Fennessey and Amanda Dobbins, introduce the episode of The Big Picture. They briefly joke about the podcast’s theme relating to nuclear deterrence and mutually assured destruction. The main focus of the initial segment is Kathryn Bigelow’s new film, A House of Dynamite.
Box Office and Format News
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(00:01:59)
  • Key Takeaway: Anime success like Chainsaw Man contrasts with the failure of adult star-led dramas, while Cinemark expands 70mm IMAX screens nationally to eventize moviegoing.
  • Summary: The box office is currently dominated by anime fandoms, exemplified by Chainsaw Man’s success, while traditional adult dramas struggle due to a lack of necessary ‘boom’ or conversation. Cinemark is strategically installing new 70mm IMAX screens in smaller cities, indicating a business model focused on premium, eventized cinema experiences, similar to concerts.
Deep Dive: A House of Dynamite
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(00:13:29)
  • Key Takeaway: The first act of A House of Dynamite is highly effective, establishing tension through Rebecca Ferguson’s competent character, but the film falters significantly in its third act.
  • Summary: The film, Bigelow’s first in eight years, follows the US government’s reaction to a detected nuclear missile aimed at Chicago, utilizing a repeating 18-minute real-time structure across various government sectors. Rebecca Ferguson’s character, Olivia Walker, is effectively established as a competent heroine facing immense pressure, humanized by personal details like her sick toddler. However, the film is criticized for heavy-handed metaphors and a disastrous final act, particularly citing Idris Elba’s performance as the President as a major miscasting.
Critique of Idris Elba’s Performance
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(00:42:21)
  • Key Takeaway: Idris Elba’s portrayal of the President in A House of Dynamite is deemed a complete failure of casting due to a lack of charisma and an inconsistent, poorly written characterization.
  • Summary: Elba’s performance as the President, intended to evoke figures like Obama, lacks the necessary gravitas and charisma, coming across as whining and low-energy, which completely deflated the movie’s tension for the hosts. His characterization includes awkward details, such as being labeled ’the boss’ by his wife who is saving elephants in Africa, and a poorly executed attempt at a folksy accent.
Disappointing Conclusion Analysis
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(00:50:04)
  • Key Takeaway: The film’s ending, showing converging characters heading toward the Raven Rock facility followed by Anthony Ramos falling to his knees, is perceived as an unsatisfying, non-conclusive ‘wet fart’ that fails to complete its narrative arc.
  • Summary: While the film effectively illustrates the lack of good options in a nuclear crisis, the final sequence—showing evacuation buses and Ramos’s solitary collapse—is seen as an artistic miscalculation rather than a profound statement. The hosts argue that after establishing the stakes and the system’s failure, the movie should have delivered a more impactful conclusion instead of simply stating that the situation sucks.
Critique of ‘A House of Dynamite’ Ending
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(00:54:53)
  • Key Takeaway: The ending of ‘A House of Dynamite’ was perceived as a ‘wet fart’ and a miscalculation, reportedly causing journalists to laugh openly at the New York Film Festival.
  • Summary: The final 30 minutes of the film were cited as the only good part, contrasting sharply with the widely criticized conclusion. The speaker felt the film made its point early on, and the ending failed to further that point effectively. This critique is tempered by respect for Kathryn Bigelow’s overall filmmaking talent, contrasting this film with the visual accomplishment of Zero Dark Thirty.
Bigelow’s Evolving Visual Style
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(00:56:26)
  • Key Takeaway: Kathryn Bigelow’s visual style has shifted from a grand, poetic approach in early films like Near Dark and Point Break to a shakier, more invasive, fly-on-the-wall aesthetic.
  • Summary: This stylistic change is seen as an adaptation to modern visual conditions and the material of her recent focus on the ‘machine of power’ (CIA, military). The first act of A House of Dynamite effectively assembled characters, but the editing by Kirk Baxter prevented it from feeling like a generic streaming production.
Best Picture Outlook for ‘A House of Dynamite’
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(00:58:48)
  • Key Takeaway: ‘A House of Dynamite’ has dropped out of Best Picture contention following mixed reviews, despite a strong contingent within the Academy still admiring Bigelow.
  • Summary: The film’s initial Best Picture placement after early festivals has been undermined by subsequent critical panning. The speaker contrasts its potential Oscar fate with Guillermo del Toro’s Frankenstein, suggesting the latter’s appeal to the Academy might secure a spot over Bigelow’s film. Netflix is believed to have limited nomination slots, which Frankenstein appears to be occupying.
Discussion of ‘The Mastermind’ Themes
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(01:12:29)
  • Key Takeaway: Kelly Reichardt’s The Mastermind humorously diagnoses the vanity and solipsism of a protagonist who believes he is intellectually superior, leading to devastating consequences for those around him.
  • Summary: The film centers on an art thief protagonist whose plan is revealed to be comically mediocre, contrasting with his self-perception as a mastermind. The narrative is situated against the backdrop of the 1970s political climate, mirroring themes of male ego and failed idealism seen in events like Watergate. The ending is noted for its effective, subtle deflation, forcing the audience to sit in the protagonist’s pointless outcome.
Josh O’Connor’s Versatility and Career Trajectory
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(01:14:13)
  • Key Takeaway: Josh O’Connor is recognized as a dynamic leading man capable of shifting between charming, foolish, restrained, and romantic roles across diverse films like The Mastermind and Rebuilding.
  • Summary: Directors are effectively refracting O’Connor’s screen presence, showcasing his flexibility in performances ranging from the arrogant protagonist in The Mastermind to a reserved rancher in Rebuilding. His current run of films demonstrates a robust taste in seeking out quality filmmakers, fitting into Reichardt’s tradition of working with talented actors who bring media attention to her work.
Best Score Race Contenders
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(01:03:55)
  • Key Takeaway: The Best Score race is exceptionally competitive this year, featuring established names like Jonny Greenwood, Ludwig Göransson, and Daniel Blumberg, alongside Volker Bertelmann for A House of Dynamite.
  • Summary: The segment lists numerous contenders, including Bryce Dessner for Train Dreams and Jerskin Fendrix for Begonia. The discussion notes the high quality of the score for The Mastermind by Volker Bertelmann, who previously scored All Quiet on the Western Front.