Dead Man’s Wire (2025) Review!!

Synopsis – On February 8, 1977, Tony Kiritsis entered the office of Richard Hall, president of the Meridian Mortgage Company, and took him hostage with a sawed-off shotgun wired with a “dead man’s wire” from the trigger to Tony’s own neck.

My Take – Don’t we all love stories about how the little man sticks up to the big capitalist society that only wants to see a rich minority succeed? Particularly, in a time like today when the whole world seems to be turning upside down and struggles just keep getting worse. And what are we supposed to do when all of our resources, financial security and the possibility of a roof over our head are just taken from us?

Apparently, according to Tony Kiritsis – when the system screws you, taking it to live TV with a shotgun is the best option.

A man who, back in 1977, feeling cheated by his mortgage broker, took a shocking step by wiring a shotgun to himself and his victim, demanding a multi-million dollar payout and a personal apology while turning the event into a televised spectacle. An incident ripe for adaptation.

But thankfully, what could have been grim and oppressive story, becomes a playfully chaotic crime thriller in the hands of director Gus Van Sant (Good Will Hunting, Milk) and screenwriter Austin Kolodney, working with historical consultants Alan Berry and Mark Enochs, who together made the 2018 documentary ‘Dead Man’s Line‘ examining the same events, with comedic undertones that are so bizarrely entertaining that one will find themselves laughing even as they flinch.

A visceral and gripping experience that is as urgent as Dog Day Afternoon (1975), and also incredibly timely and urgent in its exploration of the themes that are as relevant now as they were almost five decades ago.

Sure, it doesn’t try to reinvent the crime thriller genre and follows a formula of interactions and events that can be familiar, but because the true story behind it is so unusual, it’s the cast that truly elevates the material. Their performances sharpen the tension, deepen the emotional impact, and ultimately turn the film into something as compelling as viewers could hope for.

Set in 1977 Indianapolis, the story follows Tony Kiritsis (Bill Skarsgård), a struggling young man with ambitious dreams of business and wealth, who walks into Meridian Mortgage’s building for his appointment with wealthy mortgage broker M.L. Hall (Al Pacino). But instead is met by M.L.’s son and the company’s manager, Richard Hall (Dacre Montgomery), who reveals that M.L. has left on vacation. However, Tony has something else in mind and is there to put an elaborate plan in motion.

By holding Richard at gunpoint, he wires a shotgun to his neck as a dead man’s switch, rigged to fire if he tries to escape or anyone interferes, particularly the police sharpshooters who may try to kill him. Tony believes that the Halls cheated him of potential profit after mortgaged himself to buy land he thought could be developed as a shopping mall, but soon fell behind with the loan repayments and became convinced, perhaps not without reason, that Hall and his fellow mortgage broker father were manipulating and exploiting the situation with secret designs on his land.

And now by taking Richard hostage he wants to obtain an apology from M.L. Hall and the money he believes he is owed. Hereby creating a spectacle across broadcast news all over the country.

From the opening scene, director Gus Van Sant ensures he keeps viewers on the edge of their seat as they wait for the moment when the hostage situation will finally be resolved. He leans into the absurdity of the real story without losing sight of the tension inherent in a hostage situation.

The film is suffused with the late 70s aesthetic, and the period details are immaculate, from the grain of the film stock to the authentic hairstyles and wardrobe. The cinematography captures the tight confines of Tony’s apartment, the strange choreography of a man attempting to navigate chaos while on national television, and the odd humor that surfaces in the tensest situations.

Director Van Sant clearly understands the power of visual storytelling and never underestimates the viewer’s ability to notice details. Parts of the film feel it’s a docudrama with beat by beat of what truly happened. With the mixing of DJ Fred Temple (Colman Domingo) and an ambitious young reporter Linda Page (Myha’la), we get the various sides of how the public consumed the story of the hostage situation and how on some level, the people grew to side with Tony. He communicated through Fred, giving a counter to what is being presented through the news via mostly Linda’s superiors despite her being on the ground getting real time coverage.

The film offers a poignant critique of the American dream through Tony, a man who was wronged by the system he has always believed in, finally realizing that it is only the rich minority that will get richer, while the rest of the population will continue to struggle. This discovery leaves Tony bitter and disillusioned with the capitalistic system and its representatives, namely Meridian Motors and its managerial class.

While his actions are not excusable, it is not so hard to see where he was coming from in a world like ours that is growing more and more aware of the blatant lie that the American dream often represents.

Yes, the film is not without its flaws. The narrative does lose some steam towards the middle, and some sequences are more lighthearted than they probably should be, which slightly undercuts the tension. Yet, even these moments feel intentional. The film understands its own tone and uses humor as a counterbalance to what could otherwise be a bleak tale. By the end, any slow patches are overshadowed by the meticulous attention to period detail, the absurdity of the central story and the sheer charm of the performances.

Bill Skarsgård, mostly famously known as the clown Pennywise in Stephen King‘s It films and its recent prequel series, Welcome to Derry, proves to be a true chameleon. His human and layered portrayal of the main character helps us see both the reasons and the madness behind such a desperate act, making the viewers equally scared of and somewhat sympathetic towards the main antagonist. Opposite him, Dacre Montgomery manages to give his character depth, portraying a man caught between duty and self-preservation. Their chemistry, often awkward and unintentionally funny, is one of the most engaging aspects of the film.

In supporting roles, Colman Domingo brings his usual electricity to the screen, a familiarity of the decade but a freshness only he could display. Cary Elwes is almost unrecognizable as Detective Michael Grable, and brings a warmth to what is written as a toss away character. Myha’la isn’t given much to do here, but is outstanding as always. Al Pacino, though present in only a few scenes, is unforgettable. His performance is a wink to the audience, clearly recalling his iconic work in films like Dog Day Afternoon (1975), and yet it never feels self-indulgent. On the whole, ‘Dead Man’s Wire‘ is an unconventional, playful yet gripping true crime story anchored by its excellent performances.