“‘Dead Man’s Wire’ finds timeless angst when focused on its criminal folk hero”

Bill Skarsgård is so closely associated to a certain eldritch horror masquerading as a circus performer that clocking his non-Pennywise performances requires dedication. I’d like to report that Dead Man’s Wire is a worthwhile refresher from that role, at least wholeheartedly; I can only say that the film urgently highlights that Skarsgård’s talents are broader than his work in the It films and Welcome to Derry series allow (though in the series, he’s able to stretch out his legs). In short: it’s fine. Skarsgård is its highlight. Gus Van Sant seems not to have a confident grasp on what kind of angle he wants to take in this story of a hostage situation blooming into folk hero glorification, which is puzzling given that we are currently going through our own version of that with Luigi Mangione, a boy who desperately needs a good, solid smack upside the head from a wooden spoon*.

You can read my full review of the film over at The A.V. Club.


*If I agree with the sentiment that healthcare in the U.S. is chaos that benefits insurance companies and fucks over everyone else, I don’t agree that shooting an unarmed man in the back is anything other than just cowardice fueled by vanity. Plus: the dude loves the attention. Seriously, fuck this guy.

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