Dead Man’s Wire is a tense, old-school crime thriller that keeps things simple and lets the story do the work. Directed by Gus Van Sant (Good Will Hunting, Milk), it tells a strange but true story in a way that feels grounded, gripping and surprisingly watchable for something so contained.
The film is set in 1977 and follows Tony Kiritsis (Bill Skarsgård, excellent). He’s a man convinced he’s been cheated out of a land deal, and he takes things to an extreme by kidnapping mortgage broker Richard Hall (Dacre Montgomery). The twist is the “dead man’s wire”, a shotgun rigged to a wire around Hall’s neck, meaning any wrong move could be fatal.
Most of the film takes place inside the apartment where Kiritsis holds Hall, with the situation playing out over several days. Outside, the story quickly becomes a media frenzy. Colman Domingo plays a laid-back radio host who gets pulled into the situation by Kiritsis, while Industry star Myha’la is a reporter trying to stay ahead of the story. Al Pacino pops up as Hall’s father in a small but memorable role.
If you’ve seen Dog Day Afternoon (Sidney Lumet, 1975 ) you’ll recognise the vibe straight away. A hostage situation, a lot of shouting and a sense that things could fall apart at any second. There’s also a bit of Lumet’s Network in how the media turns everything into a spectacle.
The film looks and feels like it belongs in the 70s too. The colours are muted, the camera is a bit rough around the edges, and nothing feels overly polished. It works in the film’s favour, making everything feel more real and immediate.
At its core, this is a film about a man who feels wronged and pushes things way too far. The film doesn’t fully excuse Kiritsis, but it does show how he got to that point, which makes it more interesting than a simple good vs bad story.
It also has a lot to say about the media. As the situation unfolds, it becomes less about what’s happening and more about how it’s being shown to the public. Everyone wants a piece of the story, even if it makes things worse.
One thing the film does (on purpose) is not spend much time on what happens to the victim after. That might feel a bit uncomfortable, but it reflects how stories like this were often told at the time.
Skarsgård is the standout here. He makes Kiritsis unpredictable without going over the top, which keeps the tension high. You’re never quite sure what he’s going to do next.
Montgomery plays things more quietly, but that works too, you can feel the stress and fear without him needing big moments. Domingo brings a calm, steady presence, while Pacino clearly has fun with his short appearance.
There aren’t many locations, but it never feels boring. The apartment scenes are especially effective, they feel cramped and tense, which adds to the pressure of the situation.
Van Sant doesn’t overcomplicate things. He lets the actors and the story carry the film, which is exactly what it needs. Dead Man’s Wire might not break new ground, but it’s a really solid thriller that knows what it’s doing. Strong performances, a gripping true story, and a style that fits perfectly all come together well.
