In 1977, former real estate developer Tony Kiritsis puts a dead man’s switch on himself and the mortgage banker who did him wrong, demanding $5 million and a personal apology.
Credits: TheMovieDb.
Film Cast:
- Tony Kiritsis: Bill Skarsgård
- Richard ‘Dick’ Hall: Dacre Montgomery
- Michael Grable: Cary Elwes
- Linda Page: Myha’la
- Fred Temple: Colman Domingo
- M.L. Hall: Al Pacino
- Mabel Hall: Kelly Lynch
- Doreen: Jordan Claire Robbins
- Cameraman: John Robinson
- Ibby Hall: Katie Kinman
- Frank Love: Mark Helms
- Rookie Cop: Kyle Rankin
- James: Vinh Nguyen
- TV News Anchor: Stephanie Bertoni
- News Reporter: Danielle Munday
- Jimmy Kiritsis: Daniel R. Hill
- Chief Gallagher: Todd Gable
- Agent Patrick Mullaney: Neil Mulac
- First Responder: John N. Dixon
- Clifford Chapman: Andy S. Allen
- Resort Attendant: Casey Feigh
- George Martz: Michael Ashcraft
- Channel 6 Reporter: Eli Samek
- Doug O’Brien: Donald K. Overstreet
- Police Officer: Aaron Massey
- Fred’s Wife: Maresha Robinson
- Bomb Squad Officer: Michael James Dukes
- Sheriff: Kevin Ragsdale
- Judge: William R. Davis
- Bearded Producer: Dean Coutris
- Barb: Rita Hight
- Chaplain: Elliot Gross
- Window Washer (uncredited): D.J. Stroud
- Police Officer / Pedestrian: Jackson Monks
- Meridian Mortgage Employee in Lobby (uncredited): April Bartosh
- Court Clerk (uncredited): Tisha Carmel
- Radio Station Employee (uncredited): Jeffery Croft II
- Business Man in Cadillac (uncredited): Zachary Culbertson
- State Trooper (uncredited): Matthew DeVore
- Police Officer (uncredited): Chuck Fussenegger
- Sheriff (uncredited): Rodney Hagan
- Indiana State Trooper (uncredited): Joshua Henry
- News Reporter (uncredited): Joseph R. Himes
- Onlooker (uncredited): Mark Humphrey
- DMV Patron / Courthouse Supporter (uncredited): Joseph Imbus
- Plain Clothes Detective (uncredited): Sean McBride
- First Responder (uncredited): Chrissy Morgan
- Tony’s Uncle (uncredited): James Neeley
- Tony’s Friend (uncredited): Brian Easley
- News Reporter (uncredited): Chris Olds
- Window Washer (uncredited): James Pasier
- Reporter (uncredited): Christina Pope
- Onlooker (uncredited): Janora Sanders
- Bailiff (uncredited): Gerald Schiedewitz
- Pedestrian (uncredited): Eric Severs
- Newspaper Reporter (uncredited): Samuel Smith
- Plain Clothes Officer (uncredited): Damian Tanenbaum
- Onlooker (uncredited): Victoria Winn
- Pedestrian (uncredited): Laura K. Young
- Self (archive footage)(uncredited): John Wayne
- Self (archive footage) (uncredited): Anthony Kiritsis
- Self (archive footage) (uncredited): Richard Hall
Film Crew:
- Writer: Austin Kolodney
- Director: Gus Van Sant
- Producer: Cassian Elwes
- Producer: Tom Culliver
- Producer: Joel David Moore
- Production Design: Stefan Dechant
- Set Decoration: Sydney Marquez
- Stunt Coordinator: Frank Blake
- Co-Executive Producer: Francisco Ortiz
- Second Assistant Director: Shepherd Ahlers
- Original Music Composer: Danny Elfman
- Producer: Noor Alfallah
- Producer: Remi Alfallah
- Producer: Mark Amin
- Producer: Andrea Bucko
- Producer: Matt Murphie
- Producer: Paula Paizes
- Producer: Sam Pressman
- Executive Producer: Rishi Bajaj
- Co-Executive Producer: Ryan Bartecki
- Co-Executive Producer: Lily Blavin
- Co-Executive Producer: Luke Bouchier
- Executive Producer: Lee Broda
- Co-Executive Producer: Michael Leon Cassutt
- Executive Producer: Lara Clear
- Executive Producer: Svetlana Migunova-Dali
- Co-Executive Producer: James Di Giacomo
- Executive Producer: Jon Gosier
- Co-Executive Producer: J. Todd Harris
- Executive Producer: Matt Hartley
- Director of Photography: Arnaud Potier
- Editor: Saar Klein
- Local Casting: Kathy Campbell
- Hair Department Head: Vito Trotta
- Makeup Department Head: Debbie Zoller
- Costume Design: Peggy Schnitzer
- Executive Producer: Christopher Hines
- Executive Producer: Katharina Otto-Bernstein
- Executive Producer: Oleg Dubson
- Executive Producer: Clark Baker
- Executive Producer: Tiffany Boyle
- Executive Producer: Aaron Brown
- Executive Producer: Bubba Cash
- Executive Producer: David Devries
- Executive Producer: Veronica Ferres
- Executive Producer: Alan Helene
- Executive Producer: Billy Hines
- Executive Producer: Ali Jazayeri
- Executive Producer: Kyle Kaminsky
- Executive Producer: Arno Krimmer
- Executive Producer: Maxwell Loeb
- Executive Producer: Robert K. MacLean
- Executive Producer: Thomas Mann
- Executive Producer: David Mansfield
- Executive Producer: Nathan Mardis
- Executive Producer: Michael Merlob
- Executive Producer: William Nobel
- Executive Producer: Julie Pacino
- Executive Producer: Nicol Paone
- Executive Producer: John Pitts
- Executive Producer: Ramin Pourteymour
- Executive Producer: Elsa Ramo
- Executive Producer: Nick N. Raslan
- Executive Producer: Dan Reardon
- Executive Producer: Jeff Rice
- Executive Producer: Oliver Ridge
- Executive Producer: Eyal Rimmon
- Executive Producer: Jordan Claire Robbins
- Executive Producer: Emily Hunter Salveson
- Executive Producer: Divya Shahani
- Executive Producer: Steven Sims
- Executive Producer: Nate Stevens
- Executive Producer: Daniel Taborga
- Executive Producer: Trey Terpeluk
- Executive Producer: Oliver Trevena
- Executive Producer: Cami Winikoff
- Executive Producer: Nicholas Wirth
- Line Producer: Veronica Radaelli
- Producer: Siena Oberman
- Executive Producer: Vladislav Lapidus
- Executive Producer: Bill Skarsgård
- Executive Producer: Colman Domingo
- Sound Re-Recording Mixer: Leslie Shatz
- Set Decoration Buyer: Katherine Frantz
- Executive Producer: Vicktoria Túrmina
- Executive Producer: Paul Robarts
- Producer: Gordon Clarke
- Music Supervisor: Dina Juntila
- Co-Executive Producer: Tifanie J. Acosta
- Co-Executive Producer: Jorge Alfaro-Silva
- Co-Executive Producer: Austin Gray
- Co-Executive Producer: Martha Pardue
- Co-Executive Producer: Cynthia Bailey
- Co-Executive Producer: Kyle Green
- Co-Executive Producer: Thomas Pettinelli
- Co-Executive Producer: Lance Barnard
- Co-Executive Producer: Drake Pierre
- Co-Executive Producer: Justin Hurley
- Co-Executive Producer: Michael Roban
- Co-Executive Producer: Mike Brubaker
- Co-Executive Producer: Sherry Hurley
- Co-Executive Producer: Humberto Rosa
- Co-Executive Producer: Nick Cerise
- Co-Executive Producer: Nini Le Huynh
- Co-Executive Producer: Jennifer Diamond
- Co-Executive Producer: Ravi Khosla
- Co-Executive Producer: Vinny Smith
- Co-Executive Producer: Annie Dieruf
- Co-Executive Producer: Ted Laszlo
- Co-Executive Producer: Jay Sullivan
- Co-Executive Producer: Adarsh Venkatesh
- Co-Executive Producer: Mar Laszlo
- Co-Executive Producer: Levi Dieruf
- Co-Executive Producer: Marc Marcum
- Co-Executive Producer: Nikulas Wood
- Associate Producer: Jhon Mejía
- Associate Producer: Kimberly Montini
- Stunt Double: Barron Boedecker
- Stunt Double: Kellina Rutherford
- Stunt Double: Dan Spohn
- Stunts: Alexander Smith
- Stunts: Martyn Williams
- Stunts: Chad Joyce
- Utility Stunts: Bill Leaman
- Production Coordinator: Aimee Laussen
- Second Second Assistant Director: Josh Tipis
- Script Supervisor: Brett Durbin
- Camera Operator: Federico Verardi
- “B” Camera Operator: Danielle Elise Bartley
- First Assistant “A” Camera: Geoffrey Storts
- Second Assistant “A” Camera: Colin Garcia
- First Assistant “B” Camera: Emily Keenan
- Second Assistant “B” Camera: Gillian Sparks
- Digital Imaging Technician: Sin Cohen
- Still Photographer: Stefania Rosini
- Costume Supervisor: Rachel Stivers
- Assistant Costume Designer: Cate Adams
- Key Costumer: Laura Corum
- Costumer: Edward Taylor
- Costumer: Kate Roach
- Costumer: Lilah Pudlo
- Key Makeup Artist: Trevor Thompson
- Key Hair Stylist: Andrea Ahl
- Art Direction: James Wise
- Graphic Designer: Natalie LeCompte
- Set Decoration Buyer: Meghan Glasper
- Set Dresser: Sean Hill
- Set Dresser: Shelby Conquest
- Set Designer: John Travisano
- Property Master: Segan Friend
- Assistant Property Master: Charlie Pollard
- Sound Mixer: Derek Sepe
- Boom Operator: Dan Giannattasio
- Chief Lighting Technician: Matt Ware
- Assistant Chief Lighting Technician: Eliot Brown
- Lighting Technician: Gavin Reed
- Lighting Technician: Seth Ware
- Lighting Technician: Milo Marz
- Key Grip: Michael Stocker
- Best Boy Grip: Jeb Schilling
- Dolly Grip: John LeFan
- Additional Grip: Jeremy Cosby
- Additional Grip: Austin Koester
- Additional Grip: Jamie Pate
- Additional Grip: Tyler Bucholz
- Location Manager: Oliver Brooks
- Location Scout: Adam Snyder
- Set Medic: Stacie Conard
- Transportation Captain: Brandon Alford
- Production Accountant: Jason Marc Schoener
- Local Casting: Katie Kinman
- First Assistant Editor: Juliana Rodzinski
- Assistant Editor: Julian Claborn
- Post Production Assistant: Ava Shanley
- Visual Effects Producer: Olek Lyzwanski
- Color Assistant: Ali Soofi
- Senior Colorist: Daniel De Vue
- Digital Intermediate Editor: Vahe Giragol
- Digital Intermediate Colorist: Bryan McMahan
- Dialogue Editor: Lorenzo Gutierrez
- Foley Mixer: Colin Rogers
- Music Editor: Denise Okimoto
- Scoring Mixer: Noah Scot Snyder
Movie Reviews:
- Brent Marchant: At a time when many of us may feel like we’re being systematically shafted by big business and powerful financial institutions, it’s natural that some of us might feel justified in seeking retribution against them for their deceitful actions. Such was also the case in February 1977, when an aggrieved borrower sought potentially deadly vengeance against the president of an Indianapolis mortgage company, as seen in this fact-based comedy-drama-thriller from director Gus Van Sant. When Tony Kiritsis (Bill Skarsgård), a mentally challenged borrower, felt financially betrayed by a lender he implicitly trusted, he decided to take action to get back at the loan company’s owner, M.L. Hall (Al Pacino). However, on the day he was scheduled to meet with Mr. Hall, Kiritsis learned that he was on a last-minute midwinter “business trip” to Florida, thereby thwarting his plans for revenge. So, with his principal intention thus foiled, the angry customer resorted to his fallback plan, taking the owner’s son, Richard (Dacre Montgomery), as hostage. And, to show the world he meant business, the perpetrator fitted his captive with a taut wire around his neck that was connected to a shotgun set to fire with the slightest unplanned motion. However, despite his seemingly efficient planning, the determined but somewhat bumbling culprit ended up launching what would turn out to be a cross between a heinous criminal event and a comical media circus that mesmerized the city for days. Law enforcement officials, like Kiritsis’s acquaintance, Det. Michael Grable (Cary Elwes), were frustrated by developments at nearly every turn, while many in the public at large sympathized with the captor’s seemingly justifiable motives. And, in the process, the event exploded to draw in a variety of ancillary storylines, such as the determined campaign of a neophyte television reporter (Myha’la) aggressively seeking to lock down coverage of her first breakthrough story and the improvised negotiation efforts of a popular local radio host (Colman Domingo) who was trusted by the event’s ringmaster who was unwittingly drawn into the fray. The result is an accurate re-enactment of a potentially dangerous event that ultimately plays out like a classic example of pure Americana kitsch, a film that calls to mind elements found in such releases as “Dog Day Afternoon” (1975) and “Breaking” (2022). However, despite the picture’s commendable efforts at re-creating a scenario that has largely slipped from public memory over the years, this release feels as though it tries a little too hard at times, as if it’s wearing its penchant for period piece authenticity on its sleeve. In addition, portions of the narrative drag somewhat in the middle, coming across like padding to fill out the easily trimmed 1:45:00 runtime. Those criticisms aside, however, “Dead Man’s Wire” nevertheless features an excellent production design, along with fine performances by Domingo, Pacino, and, especially, Skarsgård. This modestly entertaining offering generally holds viewer interest reasonably well, providing a modicum of gripping drama and more than a few well-earned chuckles along the way. If nothing else, however, the story should serve as a warning to those who would try to pull one over on an increasingly unsettled, unpredictable, trigger-happy public, one whose imbedded lesson strongly cautions that cost of calculated financial scheming could easily overshadow whatever profits might come from such artful material deception.
- CinemaSerf: Back in 1977, Tony Kiritsis (Bill Skarsgård) took the law into his own hands by brazenly kidnapping the son of the owner of a mortgage company that he felt had left him high, dry and broke. Now we are not taking about a child here, Richard (Dacre Montgomery) is a married adult and father who is frog-marched out of his building with a shotgun tied to his head. They even pinch a police car to drive to his explosives-riddled apartment where he will hold his hostage until he gets $5 millions in compensation and a written apology from M.L. Hall (Al Pacino) whom he blames for his woes. Meantime, the smooth-tongued local radio personality Fred Temple (Colman Domingo) is trying to keep the city mellow and is surprised when he gets a call from Tony asking him to help mediate. Is there even the slightest chance he can facilitate something that isn’t going to result in someone’s brains all over the linoleum? This is loosely based on real events, but even so Gus Van Sant manages to maintain quite a taut degree of jeopardy as events unfold. Pacino only features in about three scenes and he manages to make quite an impact as a dad nobody would ever want, but it’s really Skarsgård’s film as he really quite likeably treads the thinnest of lines between maniac and avenging angel. Along the way, he benefits from a powerfully earthy script to help him vacillate precariously as he tries to stay one step ahead of investigating detective “Grable” (an almost unrecognisable Cary Elwes). This film hits the ground running and races along with a sustained intensity right until an ending that probably manages to get your emotions conflicted and with a very convincing 1970s look to it, is worth a watch.
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