Catherine Bigelow is back. The director behind the high octane action image (and not so secret love supplied story) "Point break", underestimated Thriller on Y2K "Strange Days", The movie "Osama bin Laden Manchun" "Zero Dark Thirty", and more, did not use the function for nearly a decade, but with her new thriller that causes anxiety "House of Dynamite", she reminds us that she is one of the best. While Bigelow's films have their own slanderers (many have dealt with how "zero dark thirty" seemed to have undoubtedly accepting a narrative spoon fed with CIA filmmakers), it is clear that it has a unique understanding of enhancing tension. She is immensely qualified and with this new Netflix film, she begins things in a saturation to create a narrative customized to give viewers panic.

We seem to be regressing when it comes to the fears of the nuclear war. In the 1950s and 60s, the threat of nuclear destruction was widespread; The strange fact of life reflected in duck exercises and shelters and excess shelters. However, after the Cold War, the nuclear war seemed to be a problem we solved, or at least we moved. But recently, as the world becomes more polarizedThe fears of destruction have returned to public awareness (I bet we can recall a short frightening moment in 2018 when the word falsely spread that the ballistic rocket is heading to Hawaii). Christopher Nolan's Recent Oppenheimer I have returned these fears to the forefront, ending at a frightening note that suggests that sooner or later, we will blow up in Smitiens.

With "House of Dynamite", Bigelow, collaborating with screenwriter Noah Oppenheim, has collected a jumping clocks that clearly states that in the end, no matter what we are doing, the very fact that nuclear weapons in general means that we will ultimately use the world. Everyone in this film does what they think is the right thing, but the dark message of the film seems to be when it comes to nuclear war, there is There is no "real thing". Every step we take will be another step towards the inevitable apocalypse.

Working as an anthological film, "House of Dynamite" represents the same story from three different perspectives. That story involves a nuclear missile mysteriously launched to the United States one morning without warning. No one knows who launched the rocket or why, but there are many theories, and there are almost certificates that weapons will make an impact with Chicago if no one is able to stop it on time.

Bigelow sets the stage by introducing a number of characters dealing with what they assume will be just another ordinary day. Our introduction in this world is Rebecca Ferguson's captain Olivia Walker, who works in the White House situation room and deals with a sick child. Her son's illness will soon be at least of her worries, and the film uses a similar approach to other characters: we get to know them as they take care of the things she has Think They are important as their combat careers or their children's impending births. Then, with the blink of an eye, all these things are released in the background because potential deaths are large.

Oppenheim's script continues to cover the same block on time: 19 19 or more minutes leading to the moment the nuclear plant is set to make an impact. When the clock runs out, the film suddenly rewinds, pulls out to show us another set of characters that are quarreling with the same time schedule. It is effective and anxious, because the checkpoints through the dialog are starting to appear and we become conditional on what will inevitably come next. In addition to Ferguson's premises expert, we also spend time with General (Tracey Lets) calling for revenge, NSA (Greta Lee) Agent called for her day off, Deputy National Security Councilor (Gabriel Basso) trying to find a solution that will not kill everyone.

"House of Dynamite" moves through these characters and others like a bad wind, adamant and inevitable. A topic that again and again is at home is that even when these people do everything right and follow a strict procedure, their destinies look sealed. "This is madness!" The elega thrifty is grilled at one point, only for General Lets to answer: "This is a reality." The message is abundantly clear: the minute mankind went ahead and developed nuclear weapons, we set up on the chains of events that would inevitably lead to our end. Maybe we have avoided the nuclear war for decades, but the "house of dynamite" wants to remind us that in the end, someone will press a button and nothing more will be the same.

This is Crackerjack's things, with Bigelow and cinematographer Barry Acroyd adopts a documentary with hand cameras flowing in and out of the conversations, as the characters move from a military room that is not described to another. You will inevitably be thrilled and troubled by all this. This is really a good movie. And yet, "House of Dynamite" arrives in very strange time in American history.

While Oppenheim's script seems to deliberately bypass politics, watching a film right now, where the United States government is run by competent, careful people, good ... Little as science fiction. This is not the director's fault, of course, but as the characters on the screen cope with how to respond to such a frightening situation, I couldn't help, but I didn't think about how their real life colleagues would behave. While players in the "House of Dynamite" are professionals, the current government is led by Alleged snacks, TV personalities and podcasts. One of the characters in the film is a cute defense secretary played by Pathos by Aredari Harris, and yet the day I showed "House of Dynamite", the true secretary of defense gave A. Bizarre speech It included how he did not want the army generals to be more obese. How can the intellectual figures of the "house of dynamite" be reconciled with such a thing? The inevitable exclusion is that I have discovered attention in the ways the film made the film for bad service. Perhaps this is why Stanley Kubrick's "Dr. Strigelove" will always be a definitive film for nuclear war, as Kubrick was smart enough to fill the image with clowns, designed to destroy us all.

Maybe I'm overwhelming things. Perhaps the "house of dynamite" is not intended to reflect our current moment, but instead a scenario that can happen at any time, under any administration. Maybe the film will feel different if we rethink it for a few years when potentially competent people are returned to the head (if we do not blow up before, it is). Maybe not.

But these problems aside, the "house of dynamite" makes a promise of creating catching, well -made, a thriller that causes anxiety that sticks to you. As the film arrived at the last act, I was literally relying on my theater seat to lean on the seat in front of me because sitting back was no longer felt as an option. Bigelow also pulls some great, realistic performances from her team. Elba's departure is probably uncertain about what to do next, and I was particularly impressed by Gabriel Basso, because the careful deputy counsel of national security was trying to choose the temperature (ironically, political ties in the real world are reinforcing their heads here as well as Baso. Ron Howard's Film "Hilbili Elegia").

The final moments of the "House of Dynamite" can leave disappointed with some spectators and I must admit that I was not fully sure about the conclusion when the loans started to roll. But the more I was sitting with the movie, the more I began to feel that there was really no other way for Bigelow and Oppenheim to bring things closer. There is no easy resolution to be found here, simply because there is no easy resolution on the nuclear problem that we have created for ourselves. The official mark of the film summarizes it more specifically: "Not if. When".

/Movie rating: 8 out of 10

"House of Dynamite" will open in selected theaters on October 10, before being transferred to Netflix globally on October 24, 2025.