Disclaimer: I’m a blind film critic. This film, like with most screeners, was made available to me without audio description. I do not know if a track exists, as the movie does not open wide until January. It is also from a relatively new distributor, so i don’t know their pattern for choosing audio description.

That being said, if I don’t talk about this film, it will just continue to be ignored. Some of our smaller films this year are actually among the best, but their studios don’t have the money to convince everyone they are as life affirming as One Battle After Another (WB), Frankenstein (Netflix), Wicked (Universal), Marty Supreme (A24), or Sentimental Value (Neon), all of which keep popping in the precursors, where Gus Van Sant’s newest feature misses. it’s a shame, because Bill Skarsgard is, once again, a revelation. Taking the Crow out of his resume, and you have a solid actor giving phenomenal performances, getting lauded for his work, yet not earning awards. this year, he once again proved he’s terrifying as Pennywise in the it prequel series Welcome To Dairy. he charmed and delighted with Nosferatu. Here he is, in a lead role, once again knocking it out of the park.

I’d argue that the film is missing its window, much like how Roofman opened just a little too early.Both are really strong representations of 2025, while both being true stories that happened in the past. We don’t pay attention to history, so we become doomed to repeat it. For Roofman, it should be opening now, as people struggle to buy Christmas presents in an economy that keeps pushing prices up, and squeezing the middle and working class. Dead Man’s Wire taps into that same narrative, only it is a story of being screwed over by a corporation. you know, like our current healthcare crisis? One of these days, someone will make a film about the United Healthcare assassination, and sadly, that will likely ring true in the future.

dead Man’s Wire takes place in 1977 and follows Tony (Skarsgard), a man who had a plan, and worked hard to build a future for that plan, and while seeking the right financial means with which to secure it, ends up finding out that the owner of the bank (Al Pacino) has taken advantage of him and stolen the opportunity right away from him. So, he tries to get an audience at the bank with the manager, but ends up getting his son (Dacre Montgomery) instead, as the father has already left.

Not a good day to be left in charge. Tony takes him hostage, showing a bomb he has prepared, with a dead man’s switch should anyone think of being a hero. The thing is, tony seems like at some point, he was a nice guy, probably liked by everyone, but when push came to shove, and he was taken advantage of, he’s now a man with nothing to lose, and everything to prove. What does he want? Reparations? An apology? these are the questions the various members of the police and media ask themselves as he holds up, waiting for a call from the one person who might be able to make it all better. In the meantime, he is a really big fan of one radio host (Coleman Domingo), and perhaps that host can help sway his behavior in a more promising direction.

Much like Roofman, I knew nothing about the case going in. But isn’t it funny how I could have left off that year, and you might have thought this story took place today? This is what people are tapping into right now, the discontent of the average working man. even in other countries, as South Korea’s No Other choice definitely dances around the same topic. Hell, even Wicked: for Good is about an outcast trying to dethrone a leader that isn’t working for everyone, but more in the needs of the few. This is 2025.

Skarsgard has made a full transformation here, which seems to be what he prefers. he likes to slip into a role that isn’t like the last thing he did. If he can do it with a very different accent, and a wildly new approach, he seems to be drawn to that. Even roping in The Crow, his last couple of roles are all very different. Even the films in the same genre, like Nosferatu and It, are very different characters. Skarsgard is more interested in range than clout chasing, looking for the right project. I truly don’t understand how he chose The Crow, but he saw something initially that sparked that creative interest. this is by far one of the best performances this year, and it is a travesty that he’s being left off of lists repeatedly.

Sometimes, critics and voters find it hard to separate a performance from a film. I’ve seen a few cases recently, like Kristen Stewart in Spencer, or Ana de Armas in blonde, where I think they are able to see the forest for the trees, but more are probably focused on this not being Gus Van Sant’s best film. And, to be honest, is that really an insurmountable thing? this is the guy who directed Good will Hunting, Milk, and To Die For. Those are great movies. Perhaps if this was directed by a lesser director with weaker credits, I could understand being let down that he hasn’t topped himself.

It’s like with Al Pacino. he’s here. There will not be one critic anywhere who is claiming this is the performance of Pacino’s career. his career is just so profound, that simply hiring Pacino, in that moment, you have to know he’s not topping Michael Corleone. he’s likely also not topping his work in a few other teflon films as well, but his resume is what it is. Does it mean he’s bad? No. He’s doing a bit of a southern gentleman accent, and it actually sounds the least like him in years. He has a pretty distinct voice and pattern now, which is somewhat disguised by his interpretation of Blanche Deveraux from the Golden Girls. And Dacre Montgomery, who is very much on the rise, is given a lot of time on screen to remind casting agents he’s still looking for his own Dead Man’s Wire. As we’ve seen glimpses, I think Montgomery hasn’t yet reached his potential, but is incredibly sympathetic. Domingo, who has had some great roles recently, really is just OK. It is a role anyone could have played, and didn’t necessarily need him in it.

There was only one performance I didn’t like, and it came from the most prominent female cast member. The journalist doing much of the reporting on scene didn’t really seem to have a distinct personality, and her line readings were really flat.

When you get a chance, and especially if this ends up with audio description, I heartily recommend it. I’m not sure it is one of the ten best films this year, but I am sure Bill Skarsgard is one of the ten best Lead Actors. And for my money, I’d be willing to give him his first nomination over yet another for an already nominated actor who won’t be winning anyway.

Bill Skarsgard is a revelation in one of the most relevant films of 2025. A powerhouse performance worthy of your time.

Fresh: 7.3/10