‘Dead Man’s Wire’ faithfully recreates a TV hostage standoff but avoids the messy why

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During the 1970s, alongside figures like Bonnie Parker and Luigi Mangione, many struggling Americans sympathized with Tony Kiritsis. In 1977, this Indiana man, feeling cheated by his mortgage company, took his lender hostage. Gus Van Sant’s film, “Dead Man’s Wire,” gets its name from Kiritsis’s dangerous weapon: a shotgun rigged to a noose around the hostage, Richard Hall’s, neck. This homemade device forced all three major television networks to give Kiritsis a platform to share his complaints. While holding the sawed-off shotgun to Hall’s head, the outspoken Kiritsis even apologized for the humiliation, while also suggesting Hall deserved it.

Much to the surprise of those in charge, a lot of people actually supported Kiritsis. One fan even wrote to the Indianapolis News suggesting they create Tony Kiritsis merchandise, like t-shirts and badges, and start a fan club.

Or how about a biopic that fires blanks?

Van Sant has consistently explored how violence connects with our obsession with media. He’s approached this theme in different ways throughout his career, from the darkly comedic satire of “To Die For” to the biographical drama of “Milk” and the stark portrayal of teenage alienation in “Elephant,” which examines the Columbine shooting through the lens of killers desensitized by violent entertainment. The story of Kiritsis, a neglected man who craves attention and finds it through a live news broadcast, presents a compelling and dangerous subject: the risk of media coverage inadvertently enabling an on-air murder.

This time around, Van Sant focuses more on the film’s historical setting and the look of old video recordings – beautifully captured by cinematographer Arnaud Potier – than on the darkly funny rants delivered on television, even when they’re interrupted by ads. The film is a mildly amusing oddity that moves quickly but doesn’t leave a lasting impression.

Awards

As someone who loves independent cinema, I was really interested to hear what Cassian Elwes – a true veteran of the indie scene – had to say. His new film, ‘Dead Man’s Wire,’ is starting a run that could qualify it for an Oscar, and he’s been talking about the tough financial realities filmmakers face these days, as well as the impact of things like AI on the industry. It’s fascinating to get his perspective.

The trouble begins when Kiritsis (Bill Skarsgård) breaks into the Meridian Mortgage office, only to find his target, the tough M.L. Hall (Al Pacino), is on vacation in Florida. He’s forced to settle for Hall’s timid son, Richard (Dacre Montgomery), who barely puts up a fight. Those familiar with the real-life, strange press conference where Hall, narrowly avoiding an assassination attempt, seemed completely detached will recognize that director Van Sant and Montgomery (known for playing a bully in “Stranger Things”) perfectly capture Richard’s personality, ultimately leaving both Kiritsis and the audience without a truly challenging opponent. There’s a chilling moment when Richard realizes his own father might not even care if he lives or dies.

Compared to the stoic, almost lifeless portrayal of the younger Hall – once seen as dignified, now as cold – Skarsgård’s Kiritsis feels much more vibrant. The actual Kiritsis was a short man with prominent sideburns, and his face had an oddly specific look – like someone you’d see competing in bowling on TV. Skarsgård’s version is taller, more awkward, and less conventionally handsome, but he nails Kiritsis’s quick, energetic speech and the frightening intensity in his gaze. His performance is a strange mix: part fiery preacher, part villain from a “Scooby-Doo” episode where Shaggy finally confronts and violently threatens the greedy bad guy.

Kiritsis is so sure he’s right that he focuses on what he sees as the mortgage company’s wrongdoing, rather than the fact that he threatened someone with violence. When he can’t get a reaction from Hall, he complains to a radio DJ named Fred (Colman Domingo), but Fred is more interested in playing music than covering news. (Domingo is so good, especially after his energetic role in “The Running Man,” that he deserves his own comedy movie immediately!) Will anyone, even a minor reporter played by Myha’la, investigate the supposed fraud?

Although Austin Kolodney’s script repeatedly emphasizes Kiritsis’s desire to be understood, the complex and failed mortgage deal is ultimately confusing enough that the movie doesn’t bother to fully explain it. The focus shifts to the frustrating reality of an ordinary man trying to be taken seriously by those in power. This takes place at a time when understanding criminal psychology was becoming more common. An FBI agent (Neil Mulac) advises the Indianapolis police to dig deeper into Kiritsis’s motives, using a chalkboard to demonstrate how anger stems from feelings of humiliation and disrespect. Despite Kiritsis’s intense anger, the police seem largely uninterested.

Movies

As a total movie buff, I was really curious to hear what the film industry folks are most excited about for 2026. Turns out, they’re just as thrilled as I am to see directors like Nolan, Spielberg, and Gerwig back at it – and honestly, the return of Wile E. Coyote has everyone buzzing!

Kiritsis is launching a podcast, but he feels like someone who would have thrived in the 1970s – a time of widespread frustration and anger. He’d fit right in, looking uncomfortable in his typical 70s attire, likely after seeing films like “Network” and “Dog Day Afternoon,” and deciding he’d had enough.

Van Sant draws comparisons between Kiritsis and Sonny Wortzik, the charismatic bank robber from “Dog Day Afternoon,” even bringing Al Pacino on board to play a wealthy businessman. However, the film doesn’t seem to have the resources to fully explore how Kiritsis’s actions resonated with people struggling financially. It also doesn’t include the famous moment when a crowd at an Indianapolis Pacers game celebrated his acquittal, and even a small scene showing why the jury sided with him would have been helpful.

The movie strangely wastes its potential with music choices that clash with the scenes. For example, the sensual song “Love to Love You Baby” plays during a tense moment with Hall in handcuffs. The score by Danny Elfman is much more effective, especially the anxious and unsettling drumbeats.

Was Kiritsis simply delusional, or just a naive man who believed in the promise of hard work and fair play in America? The film hints at the latter through repeated images of John Wayne on television – the iconic western hero always resolving conflicts or even being celebrated with an award.

It’s easy to see why Kiritsis believed he was a hero, and many viewers felt the same way. It would have been interesting if the film had delved into this idea, though. We do get a touching, though profanity-filled, speech from Kiritsis where he thanks his family, Hall’s family, and even the police academy before being led offstage. He truly believes he’s achieved something remarkable, while the audience is left feeling somber, knowing how many others are waiting for their moment in the spotlight.

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2026-01-08 19:01