The Wasteland Reviewer

Dead Man’s Wire (2025) Written Review

How far will you go to get an apology for wrongdoings? When you might not be in sound mind, there are some wild measures that can be taken in such a situation. One such wild scenario is the strange and dangerous case of Tony Kiritsis and the kidnapping of Richard Hall. On February 8^th, 1977, Kiritsis showed up to Meridian Mortgage Company to kidnap M.L. Hall (the head of Meridian) for ransom due to the unethical behavior of the firm, but he must compromise and take his son instead. Gus Van Zant (of Good Will Hunting fame) takes the reins of this hostage story and drapes it with the amazing trappings of its 70s setting. This is a crazy true story with plenty of elements that still resonate in 2025, a time where everyday people are being pushed beyond their limit way too often. 

How does Van Zant approach this story? The most noticeable element of this film is how impressive the period trappings are. You instantly are transported back to 1977. The music from composer Danny Elfman and the needle drops (channeled in the radio show that becomes a motif in the film) really set the vibe and give this film personality. The costumes are authentic and immediately transport the audience back to this time along with the hairstyling, cars, and production design. The period setting is wholly realized and feels like its own character in this crime thriller. The visuals are also rich with the vintage “film” feel of cinematographer Arnaud Potier’s work. The is a gritty and texture to the film making for a rich visual experience. The camera also navigates in an engrossing way, including a good use of intimate close-up that gives the actors space to add layers to their performances. This film is well paced with a reasonable 105-minute runtime while Van Zant continues to build tension and suspense along the way. Pleasingly engrossing, Dead Man’s Wire offers up enough thriller vibes to keep the audience connected and engaged. 

Does Austin Kolodney’s script do a good job of exploring this unexpected and wild true story? The film begins with some good storytelling that slowly peels back the layers around what is motivating Kiritsis and what he has in-store for Meridian. The first 10-15 minutes are effective in building tension and intriguing while disc-jockey Fred Temple puts us in specific headspace with his music. Once things get going, it is a relatively standard kidnapping story that has strong elements to heighten the tension. The dynamic between Kiritsis and Hall makes this film even more engaging as they navigate this dangerous situation that would have life altering effects. The film has some added depth as it navigates anti-corporate and anti-capitalistic elements as this everyday man takes it to the big money for what he has done. There is even a good sense of mystery to Kiritsis’ headspace and whether he really is all there during this harrowing event. Dead Man’s Wire offers an unbelievable story with good storytelling.

How does the cast add layers to this crazy story? The key to this whole thing working is buying into Kiritsis and his mindset and desperation. Bill Skarsgard stands out so well in bringing this kidnapper to life. You can feel the rage and frustration boiling up throughout the film (even in the opening sequence). There is an unhinged tinge to his character which Skarsgard has plenty of experience in his career. But Kiritsis is still empathetic and a bit of a mystery thanks to the committed performance from Skarsgard. Also important, the casting of Hall really needed to be on point to match Skarsgard’s energy. Dacre Montgomery plays this character perfectly. He could have been an over-the-top evil businessman but instead he is quite human. This allows the dynamic with Skarsgard to have plenty of layers and authenticity. Colman Domingo delivers well as Temple with his smooth and perfect voice for this radio disc jockey character. His energy and personality inject something special into the proceedings. Al Pacino is the elder Hall with a terrible accent that certainly makes Pacino feel like one of the weaker links in this chain. Cary Elwes pops up too and gives the film just another little jolt of personality. The film really does live and die based on its central pairing (which luckily works well). 

Is Dead Man’s Wire a great way to start the New Year at the theater? This is a well-crafted and thrilling crime flick that scratches that cinematic itch. Van Zant gives this film plenty of life (long with the efforts of Elfman, Potier, and the rest of the crew). The period elements are some of the highlights along with those central turns from Skarsgard and Montgomery. This is a good, old-fashioned flick to enjoy during the traditional dump ground time for cinemas in January.