Filmmaker Riley Franzke throws himself into the chaos in ‘Wires’, a scrappy, gutsy action thriller where he writes, directs, shoots, edits, and stars as both the hero and the villains. The setup is lean and immediate: Agent Myers crashes into a family home overrun by terrorists, guns blazing, time running out. There’s a bomb somewhere inside, and minutes to stop it.
What makes ‘Wires’ impressive is the method behind the madness. With only a cameraman (Tate Lamb) and some smart editing choices, Franzke crafts the illusion of a full cast. Static framing and sharp cuts allow him to appear in scenes opposite himself, and it works. It’s ambitious, and for the first three minutes, it’s gripping.
But the momentum stumbles. Once the shootouts end and Agent Myers is left alone with the bomb and a ticking timer, the tension that once drove the film begins to stall. The urgency that powered the opening sequence softens, and what should have been the film’s most suspenseful moment feels strangely sedate.
Even so, ‘Wires’ is a respectable effort that showcases real potential. Franzke’s performance is solid, his editing tight, and the concept is strong. With sharper pacing and a more sustained sense of danger, this could be improved further. As it stands, it’s a brave short that shows exactly what a filmmaker can do when they bet on themselves.
