by Josh Sewell
It has been far too long since we’ve had a movie from respected director Gus Van Sant in theaters (2018’s barely seen Don’t Worry, He Won’t Get Far on Foot), but thankfully he’s back with Dead Man’s Wire. It’s a dark comedic thriller based on a wild true story that is still relevant despite taking place in the 1970s.
The premise is simple and effective, while the screenplay from Austin Kolodney eschews any sort of padding or filler. He keeps the focus squarely on the protagonist where it belongs and tells a full, morally complex story in a fast-paced 105 minutes.
Dead Man’s Wire transports viewers to 1977 Indianapolis, where frustrated businessman Tony Kiritsis (Bill Skarsgård) finally snaps, seeking retribution from the mortgage company he believes cheated him out of a lucrative deal. He barges into the office of president Richard Hall (Dacre Montgomery), wires a shotgun to his neck and parades him through downtown in front of dozens of powerless cops and media figures.
Kiritsis eventually takes Hall to his apartment for a standoff that will last 63 hours. During that time, authorities attempt to meet his demands of financial restitution, immunity from prosecution and a public apology from the mortgage company’s CEO – Hall’s father (Al Pacino).
While it’s obvious Kiritsis’ methods were extreme, they certainly touched a nerve with many who watched or listened to the ordeal live on television and radio. The mentally troubled man became a minor folk hero to those who felt helpless as corporations continued to gain wealth and power at the expense of everyday people. The standoff also changed how the news media covers breaking news, for better or worse.
Dead Man’s Wire is engaging from a narrative standpoint and in its craft as well. The cinematography from Arnaud Potier is terrific, giving the film an authentic ’70s feel. It’s grimy and lived-in thanks to Stefan Dechant’s production design, James Wise’s art direction and Peggy Schnitzer’s costume design. The score, courtesy of iconic composer Danny Elfman, also sounds faithful to the era.
But the film’s real power comes from the excellent performances. Skarsgård, who rose to prominence playing cartoonishly evil villains like Pennywise and Nosferatu, gets a rare (and welcome) opportunity to act without layers of makeup and prosthetics obscuring his unique facial features. While Kiritsis is clearly troubled and his extreme acts are hard to defend, he instills the character with so much pathos and humanity that you hope the standoff ends without bloodshed.
For more cynical viewers, the premise might seem like a victimless crime considering his hostage is technically a nepo baby who got his prestigious job and wealth from his daddy. However, Kolodney and Van Sant aren’t content to rely on easy tropes and stereotypes for this character. Hall is more complex than he initially appears thanks to Montgomery’s work.
The actor (best known for his work on the recently concluded Stranger Things) could’ve easily leaned into making his character hateful or helpless. Instead, he’s resourceful – his facial expressions and body language showing how he’s constantly looking for ways out of his horrific predicament, even when he’s not talking.
But his words are also persuasive, with Hall doing his best to keep his captor calm while a shotgun is an inch from his head. Most importantly, he provides a different perspective to Kiritsis: that growing up in the shadow of a rich, powerful father wasn’t always sunshine and rainbows.
In a bit of stunt casting, Pacino brings cold gravitas to his role of the unyielding patriarch (despite not being in the movie for very long). The film is clearly winking at the legendary actor’s work in Dog Day Afternoon, considering the surface similarities to that film’s real-life story. But the 85-year-old Pacino reminds viewers of his immense talent, even if only for a few scenes on autopilot. I was also impressed by an unrecognizable Cary Elwes, solid as a detective who has a history with Kiritsis, and Colman Domingo, who plays a radio deejay striving to keep the situation from getting further out of control.
Technically, Dead Man’s Wire came out in December because it played a handful of theaters for awards consideration; however, it’s a 2026 release for almost everyone. In that sense, the new film year is off to a great start. While the flick won’t smash any box office records, it’s a welcome throwback to interesting, character-based movies for adults. Hopefully, we’ll get a lot more of them in the months to come.
Dead Man’s Wire is rated R for language throughout. Opens in select theaters on January 9 and coming soon to VOD.
Grade: B+
The premise is simple and effective, while the screenplay from Austin Kolodney eschews any sort of padding or filler. He keeps the focus squarely on the protagonist where it belongs and tells a full, morally complex story in a fast-paced 105 minutes.
Dead Man’s Wire transports viewers to 1977 Indianapolis, where frustrated businessman Tony Kiritsis (Bill Skarsgård) finally snaps, seeking retribution from the mortgage company he believes cheated him out of a lucrative deal. He barges into the office of president Richard Hall (Dacre Montgomery), wires a shotgun to his neck and parades him through downtown in front of dozens of powerless cops and media figures.
Kiritsis eventually takes Hall to his apartment for a standoff that will last 63 hours. During that time, authorities attempt to meet his demands of financial restitution, immunity from prosecution and a public apology from the mortgage company’s CEO – Hall’s father (Al Pacino).
While it’s obvious Kiritsis’ methods were extreme, they certainly touched a nerve with many who watched or listened to the ordeal live on television and radio. The mentally troubled man became a minor folk hero to those who felt helpless as corporations continued to gain wealth and power at the expense of everyday people. The standoff also changed how the news media covers breaking news, for better or worse.
Dead Man’s Wire is engaging from a narrative standpoint and in its craft as well. The cinematography from Arnaud Potier is terrific, giving the film an authentic ’70s feel. It’s grimy and lived-in thanks to Stefan Dechant’s production design, James Wise’s art direction and Peggy Schnitzer’s costume design. The score, courtesy of iconic composer Danny Elfman, also sounds faithful to the era.
But the film’s real power comes from the excellent performances. Skarsgård, who rose to prominence playing cartoonishly evil villains like Pennywise and Nosferatu, gets a rare (and welcome) opportunity to act without layers of makeup and prosthetics obscuring his unique facial features. While Kiritsis is clearly troubled and his extreme acts are hard to defend, he instills the character with so much pathos and humanity that you hope the standoff ends without bloodshed.
For more cynical viewers, the premise might seem like a victimless crime considering his hostage is technically a nepo baby who got his prestigious job and wealth from his daddy. However, Kolodney and Van Sant aren’t content to rely on easy tropes and stereotypes for this character. Hall is more complex than he initially appears thanks to Montgomery’s work.
The actor (best known for his work on the recently concluded Stranger Things) could’ve easily leaned into making his character hateful or helpless. Instead, he’s resourceful – his facial expressions and body language showing how he’s constantly looking for ways out of his horrific predicament, even when he’s not talking.
But his words are also persuasive, with Hall doing his best to keep his captor calm while a shotgun is an inch from his head. Most importantly, he provides a different perspective to Kiritsis: that growing up in the shadow of a rich, powerful father wasn’t always sunshine and rainbows.
In a bit of stunt casting, Pacino brings cold gravitas to his role of the unyielding patriarch (despite not being in the movie for very long). The film is clearly winking at the legendary actor’s work in Dog Day Afternoon, considering the surface similarities to that film’s real-life story. But the 85-year-old Pacino reminds viewers of his immense talent, even if only for a few scenes on autopilot. I was also impressed by an unrecognizable Cary Elwes, solid as a detective who has a history with Kiritsis, and Colman Domingo, who plays a radio deejay striving to keep the situation from getting further out of control.
Technically, Dead Man’s Wire came out in December because it played a handful of theaters for awards consideration; however, it’s a 2026 release for almost everyone. In that sense, the new film year is off to a great start. While the flick won’t smash any box office records, it’s a welcome throwback to interesting, character-based movies for adults. Hopefully, we’ll get a lot more of them in the months to come.
Dead Man’s Wire is rated R for language throughout. Opens in select theaters on January 9 and coming soon to VOD.
Grade: B+
Reach out to Josh Sewell at joshsewell81@gmail.com or on BlueSky @joshsewell.bsky.social
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