Dead Man’s Wire (2025) Review: A Gripping Nod to Classic ’70s Crime Thrillers That Will Keep You on Edge!

The New Hollywood era of the 1970s brought a fresh wave of crime films that continue to inspire today. Movies like “The Godfather” and “The French Connection” are still celebrated for their deep characters and relevant social themes. This period saw American filmmakers break away from self-censorship, allowing for more genuine storytelling.

Now, Gus Van Sant has returned with “Dead Man’s Wire,” a film set in 1977 that draws heavily from classics like “Dog Day Afternoon.” Though it may not reach the same heights as its predecessors, it raises questions about how quickly we forget history.

The story follows Tony Kiritsis (played by Bill Skarsgard), who is furious at banker M.L. Hall (Al Pacino) for denying him a mortgage extension. In a desperate measure, Kiritsis kidnaps Hall’s son, Richard (Dacre Montgomery), using a wire that could trigger a shotgun if police intervene. His aim is to secure a public apology from Hall, not just to clear his debts, but to spotlight the struggles faced by people like him.

Keen to resolve the situation, Detective Michael Grable (Cary Elwes) and reporters, including ambitious Linda Page (Myha’la), pressure Kiritsis and try to turn the situation into a media spectacle. Kiritsis’ actions challenge the authorities and stir public interest, revealing how activism can sometimes emerge from desperation.

Van Sant is known for his raw, realistic storytelling. “Dead Man’s Wire” serves as a return to form, exploring Kiritsis’ legacy as a polarizing figure. Skarsgard’s portrayal of Kiritsis is unique, blending anger and vulnerability, which challenges the audience’s perception of him as merely a dangerous criminal.

Interestingly, studies show that crises can lead to unexpected shifts in public opinion. A recent survey by the Pew Research Center found that nearly 60% of Americans believe that protests, even if disruptive, can lead to necessary social changes. Kiritsis’ story, while extreme, echoes this sentiment. His kidnapping plot forces both his victim and the authorities to confront uncomfortable truths about the system.

The film doesn’t shy away from showing the tension between Kiritsis and Hall. Their interactions reveal a deeper understanding of each other’s struggles, highlighting how economic pressures can affect lives drastically. You see Hall, once just an indifferent banker, grappling with the consequences of his actions as he faces Kiritsis’ wrath.

One of the fascinating aspects of “Dead Man’s Wire” is how it captures the essence of the 1970s. The music and design pull you into that world, while the solid supporting cast, especially Colman Domingo as a radio DJ, adds layers to the narrative. Domingo’s character serves as a bridge between the chaos and ordinary life, illustrating the far-reaching impact of such events.

At its core, “Dead Man’s Wire” examines complex human emotions, resonating on multiple levels. It may not be as historically impactful as its inspirations, but it reflects a critical moment where individual actions can challenge societal norms.

In conclusion, Van Sant’s latest offering stands as both a gripping thriller and a thought-provoking commentary on activism and the press. It’s a welcome return for the director, showcasing his ability to navigate complex themes while staying true to the gritty realism that defines his work. The film urges us to confront our history and question our roles in ongoing societal challenges.

For more insights on Gus Van Sant’s filmography, check out IMDb, Rotten Tomatoes, and Wikipedia.

Source link