Dead Man’s Wire Review

It’s been nearly fifty years since Dog Day Afternoon, which remains the greatest hostage movie ever made. Like the Sidney Lumet classic, Dead Man’s Wire chronicles a true story set against a 70s backdrop, centering on a desperate man pushed to the edge. Both films also have Al Pacino in common, although he has a much smaller role here. Spending most of his screen time on the phone with a Foghorn Leghorn accent, this is one of Pacino’s easiest paychecks, but also one of his more entertaining appearances of the past few years. Bill Skarsgård is the real showcase here as Tony Kiritsis, a man behind on his payments. It’s his mortgage broker who’s running out of time, however.

Pacino plays Kiritsis’ intended target, M.L. Hall, who’s unfortunately on vacation. So, he settles for his son Richard Hall (Dacre Montgomery), whom Kiritsis also holds responsible for his financial woes. With a wire around his neck and a shotgun pointed at his head, Hall is strapped in what Kiritsis calls a “dead man’s wire.” While it isn’t long until they get the cops’ attention, Kiritsis manages to escort Hall to his apartment, where he holds him hostage for more than two days. One wrong move means Hall’s brains get splattered on the walls, but all Kiritsis wants is an apology… and $5 million.

Kiritsis does eventually get Hall’s father on the phone. Even with his son being held at gunpoint on the other line, an apology isn’t in his repertoire. It’s fitting that Pacino’s performance here is phoned in, as the elder Hall seems completely unfazed by his son’s plight. His son is disappointed, albeit not surprised, while Kiritsis only grows more frustrated. It may be the best scene in Dead Man’s Wire, making me wish there was more of Pacino, especially since there isn’t much of a rapport between Tony and Richard. Although Montgomery is a fine actor, he’s given little to do outside of sitting around, waiting for his fate to be decided.

The ensemble includes Cary Elwes as a detective on the case, Myha’la as a reporter looking for her big break, and Colman Domingo as a radio DJ who gets roped into Kiritsis’ scheme. While the performances are universally good, none of the supporting characters have very fulfilling arcs. Dead Man’s Wire belongs to Skarsgård, who carries the film with one of his most charismatic performances. Skarsgård sells it as an intimidating wild card whom we nonetheless relate to, even if he goes overboard. Director Gus Van Sant also distinguishes the film with a 70s atmosphere, although Dead Man’s Wire also mirrors our current climate.

While there are some significant differences between Tony Kiritsis and Luigi Mangione, both have been glamorized as folk heroes of sorts. To others, they’re criminals who tried to make an example of the elite and powerful. For those unfamiliar with his story, I won’t spoil what Kiritsis’ fate was. What I will say is that his final destination in the film is oddly satisfying, even if we don’t want to admit it. For those who’ve ever felt wronged or undervalued by the wealthy, eating the rich is perhaps in their nature. Where is the line, though? In any case, it’s clear that Kiritsis was only the beginning.