A House of Dynamite

In a world where the quiet hum of diplomatic chatter can suddenly give way to the roar of an unseen threat, the United States finds itself perched on the edge of an unprecedented emergency. An unidentified intercontinental ballistic missile pierces the sky, its destination unknown, and the nation’s most critical decision‑makers are thrust into a race against time. The film’s relentless pace is matched only by the ever‑present sense that any misstep could ignite a cascade of irreversible consequences.

Olivia Walker serves as the eyes and ears of the White House Situation Room, tasked with filtering a flood of intelligence and keeping the president’s inner circle informed. Her composure under pressure anchors a cast of equally high‑stakes players: Daniel Gonzalez, a military officer stationed at a remote Alaskan launch site; Reid Baker, the Secretary of Defense wrestling with the weight of continuity plans; and Jake Baerington, a deputy national security advisor whose counsel pivots between caution and aggression.

Across the strategic map, Anthony Brady leads the U.S. Strategic Command, while Robert Reeves offers a naval perspective steeped in the gravity of nuclear authority. Behind the scenes, Cathy Rogers of FEMA and Ana Park, an NSA analyst, represent the civilian and cyber dimensions of the looming crisis. Their interactions illuminate a tapestry of bureaucracy, expertise, and differing philosophies about how to confront an existential threat.

The tone is taut and unflinching, a blend of procedural precision and visceral dread that mirrors the stakes of modern geopolitics. As alarms sound and protocols rise, the film invites viewers to sit in the vaulted rooms where power is both exercised and questioned, leaving an echoing question: in a house built on volatile power, who will decide the fate of the people inside?

Last Updated: January 04, 2026 at 18:21