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Netflix's new thriller movie with Idris Elba and Rebecca Ferguson already sounds intense — and we have a release date

Netflix's new thriller movie with Idris Elba and Rebecca Ferguson already sounds intense — and we have a release date

Tom's Guide5 hours ago

Netflix seems to be doubling down on political thrillers lately. Just days after dropping the first look at its upcoming series 'Hostage,' the streamer has now revealed some juicy details on an original movie that sounds just as intense.
'A House of Dynamite,' a new dramatic thriller from Oscar-winning director Kathryn Bigelow, is officially coming to Netflix (and in select theaters) on October 24, 2025, and it already sounds like a gripping watch.
The movie stars Idris Elba and Rebecca Ferguson, which is reason enough to pay attention, but throw in Bigelow (whose work on 'Zero Dark Thirty' and 'The Hurt Locker' basically defined the modern political thriller) and this project immediately feels like something worth watching on the biggest screen possible.
From Academy Award winning director Kathryn Bigelow comes A HOUSE OF DYNAMITE, in select theaters October and on Netflix October 24. pic.twitter.com/QBG7Ay75ooJune 18, 2025
Netflix hasn't released a trailer or any first-look images yet, but we do have an intriguing poster showing the outline of a soldier, with the title printed just below. It's not much to go on, but with this announcement out in the world, hopefully more details will follow in the coming weeks.
The newly confirmed plot details line up with what The Hollywood Reporter revealed a few months ago, which also mentioned that the movie's standout element is its real-time format — following government officials in a race against the clock to prevent catastrophe. I love a ticking-clock setup when it's done right, and so I'm hopeful about this one.
'A House of Dynamite' certainly sounds intriguing, and I'm glad Netflix is putting this movie in theaters too. Honestly, any excuse to support your local theater is a win in my book!
While details for 'A House of Dynamite' are scarce right now, we do have a small synopsis: 'When a single, unattributed missile is launched at the United States, a race begins to determine who is responsible and how to respond.'
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That one-line synopsis might be brief, but you can't deny that it sounds compelling. And with Noah Oppenheim, known for 'Jackie' and 'The Maze Runner,' behind the script, there's a good chance this story will be both smart and sharply paced. In fact, Netflix Tudum described it as 'a sharp and visceral new story.'
Alongside Elba and Ferguson, the cast includes Gabriel Basso, Jared Harris, Tracy Letts, Anthony Ramos, Moses Ingram, Jonah Hauer-King, Greta Lee, and Jason Clarke. They're joined by Malachi Beasley, Brian Tee, Brittany O'Grady, Gbenga Akinnagbe, Willa Fitzgerald, Renée Elise Goldsberry, Kyle Allen, and Kaitlyn Dever.
Bigelow is officially making her return, and it sounds like she's diving straight into high-stakes territory with a tension-filled missile crisis thriller. The cast is stacked, the premise is juicy, and if early hints are anything to go by, we could be in for a tense ride.
'A House of Dynamite' hits select theaters this October and lands on Netflix on October 24.

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Why The Internet Is Obsessing Over 'Dept. Q's' Alexej Manvelov Who Plays Akram
Why The Internet Is Obsessing Over 'Dept. Q's' Alexej Manvelov Who Plays Akram

Elle

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  • Elle

Why The Internet Is Obsessing Over 'Dept. Q's' Alexej Manvelov Who Plays Akram

Dept Q is one of those few shows that is stacked with a knockout cast. You might've come for Matthew Goode, Chloe Pirrie or Kelly Macdonald - and rightfully so, but we'd have no qualms if you finished the series thinking breakout star Alexej Manvelov who portrayed Akram was your favourite character. Just shy of a month since its release, it is evident that the world still cannot get enough of Netflix's Dept. Q. Still going strong, it has held a top 10 spot in Netflix TV series' since premiering on May 29. But of course, what was not to love? The combination of an emotionally tortured yet highly skilled police detective tasked with the responsibility of forming a cold case unit against the backdrop of Edinburgh and Lothian's moodiness (and of course, those interiors throughout the series) makes for the perfect crime solving settings in this adapted Nordic noir. One of the series' main characters, Akram is first introduced to viewers as a quiet and obedient Syrian expat working in Department Q as Detective Carl Morck's assistant. While he might have had a mysterious air about him in the first episode, it was easy to overlook Akram as an uninteresting assistant aiming to impress - through willingness to help Carl sift through case files and offering his colleagues (Rose) a sweet treat that was supposedly made by his wife, we don't expect to get much out Akram. However, this all changes in the second episode when we see Carl interrup Akram's prayers. A quiet frustration takes over his face, yet he does not verbally express this to Carl, until the final moments of the episode, when he calmly, yet firm states, 'Carl when I am praying, don't interrupt me,' after helping ease his boss out of an anxiety attack. Beyond this, as the episodes go on, Akram's charming and personable nature as compared to Carl's is also an added factor in him becoming one of our favourite characters in the series. In an interivew with The Upcoming, Manvelov touched on Akram's evasive nature. 'He's multi-layered, with the backstory we came up with makes him a mystery, but also very human.' While the mystery of what his job was previously in Syria remains a mystery for the entirety of the series, it comes to a head for the first time in episode six when Akram pays Edmund a visit, and uses physical violence to get answers out of him. Even after Edmund threatening to kill Akram, as polite and calm as ever, he responds, 'Okay. But in the meantime, please tell me who you work for,' all while crushing his already broken femur and maintaining his usual stoic mannerisms and facial expressions. It's at this point exactly, were we really begin to wonder, who on earth is Akram? Prior to this, while questioning a group of drug addicts who get violent, Akram manages to escape the situation, unharmed, despite leaving one of the drug addicts hospitalised with a crushed windpipe. Even by the end of the series, the truth about Akram's former profession and the mysterious death of his wife is never answered, which only adds to the build up of season two, and naturally we're left in awe and slight fear of this mysterious and impressively dangerous man, but even more so by Manvelov's enigmatic and chilling performance. ELLE Collective is a new community of fashion, beauty and culture lovers. For access to exclusive content, events, inspiring advice from our Editors and industry experts, as well the opportunity to meet designers, thought-leaders and stylists, become a member today HERE.

18 TV Shows You Absolutely Can't Miss This Summer
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18 TV Shows You Absolutely Can't Miss This Summer

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Marlee Matlin tells her story in an intimate and groundbreaking documentary
Marlee Matlin tells her story in an intimate and groundbreaking documentary

San Francisco Chronicle​

timean hour ago

  • San Francisco Chronicle​

Marlee Matlin tells her story in an intimate and groundbreaking documentary

When American Masters approached Marlee Matlin about doing a documentary, Matlin had one name in mind to direct: Shoshanna Stern. Like Matlin, Stern is deaf. She also hadn't directed before. But Matlin, who herself became the first deaf person in the Directors Guild of America just a few years ago, was certain she was up to the task. The resulting film, 'Marlee Matlin: Not Alone Anymore' is an intimate look at her life: Growing up in a hearing family; winning the best actress Oscar at 21 for her first movie role in 'Children of a Lesser God,' which film critic Rex Reed at the time called a 'pity vote'; what she's described as an abusive romantic relationship with her co-star, the late William Hurt, which he denied; getting sober; and her experiences in an industry not equipped to accommodate deaf actors. It's also an evocative portal into the world of the deaf community that uses groundbreaking techniques and sound design to put American Sign Language (ASL) and visual communication first. The film opens in select theaters Friday. While Matlin told much of her story in the memoir 'I'll Scream Later,' on some level it wasn't a completely satisfactory experience. Before the #MeToo movement, its revelations were not treated entirely seriously in the media. But a documentary also provided an opportunity. 'We communicate visually,' she said. Matlin and Stern spoke though translators to The Associated Press about the 'CODA' effect, making the doc on their terms, and why they hope Reed sees this film. Remarks have been edited for clarity and brevity. AP: Shoshanna, what was your approach? STERN: I had never seen a deaf person direct an episode of TV or film. Never. I thought, what does that even look like? I didn't realize until I took the job that really the whole form of documentary as we know it is really rooted in sound, in the assumption that people will be speaking and they can speak. I thought, what are we going to do when we're using American Sign Language? I have to reframe a whole form of documentary. We have to be able to see what a visually-based documentary is going to look like. We wouldn't do justice to Marlee's life if I had forced this form that really wasn't rooted in the way that she experienced this life. And that was exciting to do. Scary for some people out there, but I never felt scared in making this documentary because she believed in me. MATLIN: If I had had a hearing director approach me to do this project, we could have done a very good job, but that person would not have seen me in the same way. They would not have the same lens as a deaf person. AP: What were some techniques you used to spotlight the deaf experience? STERN: I did want to film with captions in mind, so I made sure that we did have a wider frame. We figured out visual voiceover with a split screen that we added. We did this little surgery with words and syllables in one of the scenes where we mixed them all around to be able to bring people into how Marlee experiences conversations and the world. We wanted to make this documentary an immersive experience for the audience members, a sensory experience to help them understand. AP: 'CODA' felt like a big moment, but in the years since it won the Oscar, have you seen things change? MATLIN: 'CODA' certainly was a milestone and respected by so many people in the industry. It tackled a lot of things that both deaf and hearing people or audiences can identify with. I love the fact that they burnt in the captions. That you can't just turn it off. And I hoped that all the love we received and the three Academy Awards that we got would make a difference. It was honored on so many other levels too as well, whether we're talking about (director) Sian (Heder) or you're talking about Troy (Kotsur) or the SAG award which was just a dream come true, specifically of mine. I took that opportunity to specifically address that that we 'exist,' that we want to be actors just like you, we want to be directors, we want be producers, we want to be hair and wardrobe stylists. We want to work in all levels of production. So 'CODA' really elevated that conversation about how much we wanted to be part of the industry. But for some reason it didn't really break open the door as wide as I would have thought. Yet we just don't give up. We are persistent. Because it is what it is. We are working on our own levels to make changes. STERN: Marlee said something really brave when we were at Sundance. She said, 'It won't last.' The moment, yes, in the moment. But I don't know if we have movement. MATLIN: There's so many stories that we can tell, so many stories that you can put up on screen, so many stories that we can put on stage. I'd like to see action because I've been hearing that, 'Yes, we have to do this' or 'I will do this,' but it's been 40 years. I don't want to sound like I'm complaining. I just want to make sure that we put our money where our mouth is. I go back to that comment about Rex Reed. I wonder if he would ever see this film. I'd love to see if he has the balls to make a comment and say, "Oh look, I realize I might have said something wrong." That's just one example of the things I'd like to see happen. And maybe the people who interviewed me over the years. I don't want you to misunderstand me, I have a great deal of respect for them. But specifically, I am calling out Rex Reed. So, you know, sorry but not sorry.

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