Dead Man's Wire

Director: Gus Van Sant
Starring: Bill Skarsgård, Dacre Montgomery, Cary Elwes, Myha'la, Colman Domingo, Al Pacino, John Robinson, Kelly Lynch, Todd Gable
Running Time: 106 min.
Rating: R

★★★ (out of ★★★★)   

During Gus Van Sant's biographical crime thriller Dead Man's Wire, a voiceover declares that holding onto anger is the equivalent of drinking poison and expecting the other person to die. But by film's end, we're left wondering whether that's true or the real life antagonist actually did get the satisfaction he sought. Eerily prescient, it focuses on this man with a grudge and the extreme measures he takes against those he thinks wronged him. And though his intended victim isn't around for the consequences, he finds a suitable replacement, leading to an unusual standoff that sends the cops and media into a frenzy. 

Initially, the police want this abductor to feel as if he's receiving the attention he so desperately craves, hoping he'll drop his guard long enough for them to go in for the kill. But what happens when the public chooses to view him as a sympathetic figure screwed over by a soulless corporation? With a compelling tale like his, it's no surprise many can relate, enabling them to somehow see past whatever violence he's capable of, as scary as that seems.    

On Tuesday, February 8th, 1977 in Indianapolis, a high strung, mustachioed man named Tony Kiritsis (Bill Skarsgård) arrives at the Meridian Mortage Company building for an appointment with CEO M.L. Hall (Al Pacino). Entering with a sling on his arm and a long box, an agitated Tony makes a scene when informed M.L. is vacationing in Florida. His son and company President Richard (Dacre Montgomery) intervenes, agreeing to meet with him. But once inside the office, Tony removes a shotgun from the box, wiring it to Richard's neck and rigging it to fire should he attempt to escape. 

Believing the Halls cheated him out of money on a land development deal, Tony calls this abduction into the police himself, hoping to expose the Halls. With a wire wrapped around his neck, Richard's taken out of the building and onto the street by Tony, attracting the attention of Detective Michael Grable (Cary Elwes) and TV news reporter Linda Page (Myha'la), who's looking to raise her profile with a big story. As the FBI closes in and Richard's life hangs in the balance, Tony uses local radio DJ Fred Temple (Colman Domingo) to send his message to the masses. But with time running out, he wants money and an apology, or the shotgun goes off.

Aside from Skarsgård's genuinely unsettling performance and a remarkable sense of time and place, the film's greatest asset is how quickly it gets down to business, letting the smaller details pour out as this situation escalates. From the start, there's something off enough about this guy that the pressure's on to give him what he wants, or at least make him think he's getting it. It's also intriguing to watch these opening office scenes with the knowledge that Tony would have been immediately tackled at the front door if this occurred today. But it's the 70's, establishing him as just another irritated client on a Tuesday. 

Viewed through a pre-9/11 lens with no security cams, it's easier to see how Tony pulls this off, his unusual shotgun contraption throwing off authorities as they proceed with heightened caution. All of this gives Tony time to lay out his terms and milk the public's attention while a terrified Richard suffers through the ordeal, his life potentially ending with one sudden move in the wrong direction. 

Montgomery's performance conveys a thinly layered sense of guilt that Richard and his father really screwed this man out of his cash since that's what this company does. Pacino's big scene as M.L. confirms just how little respect he has for his own son, who's essentially a subservient hatchet man. Even with Richard's life on the line, the elder Hall proves too stubborn and entitled to give an inch, frustrating both Tony and the FBI. Pacino's subtle here, never hamming it up as his character comes across completely unaffected and incapable of relinquishing control. 

While Van Sant gets a little heavy handed as he flashes back and forth between TV broadcast recreations and the actual action, tension remains at a fever pitch throughout, delivered in a style intentionally reminiscent of Pacino's Serpico and Dog Day Afternoon. A menacing, unhinged Skarsgård exudes false bravado as the walls close in on Tony, who still plans to walk away scot-free. Domingo also impresses with a nuanced, charismatic turn as the radio DJ caught in the middle of these volatile negotiations. As the only person Tony trusts, if not flat-out idolizes, you'd think using him as a liaison would give the FBI an advantage. And for a while, it does.  

Logic dictates Tony can't get away with this, but his belief he will is what makes him dangerous. The closing title cards revealing the fates of those involved are legitimately surprising, as is the real news footage that appears over the credits. But by depicting the genesis of similar events we'll see play out over the following decades, Dead Man's Wire shows just how easily criminals become celebrities. And while they continue to bask in that adulation and exposure, it still still says as much about us as them.                  

Project Hail Mary

Directors: Phil Lord and Christopher Miller
Starring: Ryan Gosling, Sandra Hüller, James Ortiz, Lionel Boyce, Ken Leung, Milana Vayntrub, Priya Kansara, Malachi Kirby, Liz Kingsman
Running Time: 156 min.
Rating: PG-13

★★★ (out of ★★★★)  

Sometimes the most gripping stories involve a character waking up in an unfamiliar location with no idea of their identity or how they got there. Phil Lord and Chris Miller's exhilarating sci-fi space epic Project Hail Mary is one of those. A stirring adventure all audiences can embrace, it wouldn't have felt out of place among Spielberg's lineup of 80's hits, invoking a similar sense of wonder, excitement and awe. For a while though, we're kind of left wondering where it's headed, at least until it gets there and the pieces all eventually fall into place. 

Cleverly mixing science with fantasy and comedy, it approaches The Martian author Andy Weir's 2021 novel with a respect for viewers' patience that stands out among Hollywood's dumbing down of popular bestsellers. And regardless of how much or little the science holds up under closer scrutiny, it's accessible enough to believe in, especially during quietly introspective stretches dealing with the challenges facing this lone survivor of this secretive space mission. But what he hasn't figured out yet is that his toughest battle still lies ahead.     

It's 2032 and middle school science teacher and former molecular biologist Ryland Grace (Gosling) has awakened from an induced coma onboard a spacecraft light years from home. Suffering from amnesia, Grace eventually pieces together that he's a member of a three person crew, two of whom are dead, leaving him stranded alone on the ship. Flashbacks will reveal his recruitment by international task force head Eva Stratt (Sandra Hüller) to join her classified project studying a substance called "astrophage." Having already proliferating the Sun's surface, it's confirmed to cause a catastrophic cooling on Earth within thirty years.  

Dubbed "Project Hail Mary" for its long shot odds, Stratt's plan to combat this centers around a manned space flight to Tau Ceti, the closest star unaffected by the outbreak. Unfortunately, with only enough fuel for a one-way trip, Grace now unwillingly finds himself on a suicide mision. After discovering another ship containing a five legged alien rock he nicknames Rocky (voiced by James Ortiz), they communicate and become friends, working together to find a solution. But as plans go awry and humanity's future hangs in the balance, Grace is faced with a devastating choice. 

Glimpses into Grace's pre-flight life bring valuable context his current situation on the spacecraft since we haven't a clue how he wound up on it. Whether these flashbacks are intended for viewers or represent his memories gradually returning, a scraggly, confused Grace attempts to make sense of his surroundings. And in showing the energetic, enthusiastic science teacher who rides his bike to school out of necessity rather than choice, we see how the ex-biologist's world is turned upside down after he's approached by Stratt for help. As if he has any say in the matter. Grace is aided by Stratt's initially intimidating security specialist Carl (Lionel Boyce) as he attempts to breed astrophage fuel for the mission he'll be forced to partake in once complications arise. 

With Grace alone on this ship trying to make sense of his perilous situation, we're blown away by Daniel Pemberton's cosmically eclectic, synth heavy score and cinematographer Greig Fraser's astounding visuals, both of which harmoniously co-exist in a film unafraid of wearing many influences on its sleeve. Once Rocky arrives, Drew Goddard's script really soars, with Grace realizing this alien life form (brought to life by mostly practical effects) is in a dire situation not so different from his own, having lost everything and everyone. 

That the impending threat to Earth is gradual rather than immediate complicates matters, making it harder to blame an ordinary citizen for refusing to sacrifice themselves for a mass casualty event thirty years down the line. Stratt may have picked Grace for his expertise, but also on a judgmental assumption he has nothing to lose. The ethical implications of that are intriguing, especially considering how he ends up on this spacecraft and comes to terms with how important his role truly is. Hüller's turn is complex enough that Stratt could be read as a cold, heartless bureaucrat or rebellious rogue who leads Grace to discover his life's purpose, as duplicitous as her methods are. Or maybe she's a bit of both, as her memorable karaoke scene hints. 

Despite some long lulls in the action, the film reaches its apex when Grace and Rocky join forces and form their bond, gradually morphing this into a moving tale of companionship and sacrifice that doubles as a great buddy comedy. It also successfully provokes tears in viewers over a rock that's so much more, with Rocky drawing justifiable comparisons to Cast Away's Wilson or even 2001: A Space Odyssey's HAL 9000. Inevitably, Grace will have to choose between getting home or saving a friend in danger.   

Gosling's charismatic performance carries every minute, playing a different kind of reluctant hero who's brutally honest about his own faults, fears and deficiencies. How his character possesses so little interest in being a hero might qualify him as the best kind, whether he sees it or not. But after fully embracing what he's called on to do, it's a whole new ball game, culminating in a propulsive final hour more enthralling and immersive than we're used to seeing in most mainstream blockbusters.