It plays a little loose with facts but the righteous rage of “Dog Day Afternoon” is present enough in Gus Van Sant’s “Dead Man’s Wire.” The based-on-a-true-tale hostage thriller is as deeply 1970s as it is contemporary, writes AP Film Writer Jake Coyle in his review. It’s been seven years since Van Sant directed, and one of the prevailing takeaways from his new film is that that’s too long of a break for the filmmaker of “My Own Private Idaho” and “Good Will Hunting.” Working from a script by Austin Kolodney, Van Sant turns “Dead Man’s Wire” into not a period-piece time capsule but a bracingly relevant drama of outrage and inequality
