Dead Man’s Wire Delivers Relentless ’70s-Style Tension
A desperate bloke, a shotgun rigged to a wire, and a two-hour pressure cooker—Dead Man’s Wire is a wild, stylish ride that keeps punters on edge. Find out why this true-crime drama is making waves.
There’s a certain unease that settles in when you watch a bloke attach a sawed-off shotgun to someone’s neck, and Dead Man’s Wire leans right into that discomfort. Gus Van Sant manages to keep this nerve-wracking energy going for nearly two hours, never letting the tension drop. The film, inspired by the real-life Tony Kiritsis and the 1977 hostage drama in Indianapolis, offers a sharp, stylish look at a man who’s been pushed to his limits.
High Stakes and Raw Energy
The story is as wild as it sounds, but it’s grounded in a very real sense of desperation. Bill Skarsgård takes on the role of Kiritsis, a bloke who’s had enough after being ripped off in a dodgy land deal. He storms into a mortgage office, grabs Richard Hall (played by Dacre Montgomery) as a hostage, and wires a shotgun to the poor bloke’s neck. If the coppers try anything, the wire pulls the trigger. It’s the sort of scenario you’d expect from fiction, but Van Sant doesn’t shy away from the absurdity of the true story.
The film is packed with manic energy, capturing the chaos of the late ’70s with a fresh, dangerous edge. The period setting isn’t just for show—it adds a gritty, analogue feel that matches the characters’ desperation. The pace is relentless, echoing Kiritsis’s unraveling state of mind. It’s a bold move for Van Sant, and it pays off.
Standout Performances and Unlikely Sympathy
Skarsgård is a force, bringing a raw, unpredictable energy to Tony. He’s genuinely frightening when he’s shouting at the police or threatening his hostage, but there’s a vulnerability that seeps through. You can see the cracks, the fear, and even a bit of humour. Skarsgård makes Tony oddly likeable, turning a criminal into someone you can’t help but barrack for.
Montgomery, stuck with a shotgun taped to his neck for most of the film, does a lot with very little. His eyes do the heavy lifting, showing pure terror and, at times, a strange camaraderie with his captor. The dynamic between the two is surprisingly authentic, shifting from fear to a sort of uneasy mateship.
Visual Style and Supporting Cast
Visually, Dead Man’s Wire keeps things interesting with a mix of media and camera tricks that evoke the era without feeling dated. The film is gritty when it needs to be, but there’s a slickness that keeps things moving. The tension never lets up, even though much of the action is confined to small spaces like cars and flats. Danny Elfman’s score adds to the chaos, matching Tony’s frantic energy and ramping up the pressure.
The supporting cast is solid. Colman Domingo brings a steady hand as Fred Temple, balancing out Skarsgård’s wildness. Myha’la, as Linda Page, makes an impression even if she doesn’t get heaps of screen time. Cary Elwes is almost unrecognisable as a tough but trustworthy copper. Al Pacino, playing Richard’s father, M.L. Hall, adds weight to his scenes, though the father-son relationship could have used a bit more depth. Still, the cast rounds out the world nicely, making every moment count.
Relentless Tension and Style
Dead Man’s Wire is a masterclass in keeping punters on edge. It takes a grim slice of true crime and turns it into a high-voltage piece of cinema, questioning who’s really in the wrong. With Skarsgård at his best and Van Sant back in top form, it’s a film that’s hard to look away from.