The new Gus Van Sant film, Dead Man’s Wire, is the latest entry in what might be called the “crazy people doing crazy things on live TV” genre. This places the movie within the tradition of Dog Day Afternoon or Network, whose lead characters are explicitly or implicitly mad as hell and behave accordingly on TV. But unlike those classics directed by the incomparable Sidney Lumet, Van Sant’s movie lacks a properly critical perspective on its central antihero. The film prefers to paint its protagonist less as a nutcase and more as a folk hero.