When Quentin Tarantino's Pulp Fiction hit the scene in 1994, it took filmmakers and cinephiles by surprise that a film involving murder, betrayal, and theft could also be so wickedly funny and hilariously in its conversational fluidity. Tarantino was fearless, not worried about halting the plot-progression for just a short amount of time so the characters could ramble or comment on something random and completely off topic. As simple as it was, it was surprising to many; here was dialog unrelated to the plot and central story being used with such confidence.
Because of how Tarantino took convention and ordinary crime-drama filmmaking by storm, he obviously spawned many inspirations and "copycats." I only bring this up because, for reasons I have trouble understanding, people have written off Gary Fleder's Things to Do in Denver When You're Dead off as a Pulp Fiction ripoff. Since its release in 1995, the film has gone far under the radar and scrutinized, only to be viewed by the curious cinephile or a hardened crime drama fan; consider me both.
The film stars Andy Garcia, a leading man I, and many, it appears, have forgotten about as much as we forgot about this particular film. He plays "Jimmy the Saint," an ex-con looking to get out of the business and run his own shop where people record their wills for their family and friends before they die. Catering to the business serves as his day job, until he's approached by his paraplegic boss "The Man With the Plan" (Christopher Walken), who requests his services for one more little odd job. Unsurprisingly, the job goes wrong, and this means Jimmy is in the hottest water. Now, Jimmy must find a way to secure his own future, as well as continue to maintain stable connections, while pleasing his newfound love interest (Gabrielle Anwar) through all this chaos. In the meantime, we are introduced to a wide variety of characters played by big-name actors: a quiet hit-man nicknamed "Mr. Shhh" (Steve Buscemi), ex-gangster "Pieces" (Christopher Lloyd), petty-thug "Big Bear Franchise" (William Forsythe), the loquacious "Easy Wind" (Bill Nunn), and the argumentative and angry "Critical Bill" (Treat Williams).
The film bears a relatively age-old story, but the film is complicated by strangely vague dialog and an overabundance of characters with unique names. The dialog itself seems to be describing linear, straight-forward statements and requests and loading them with slang and alienating jargon that takes a great deal of time getting used to.
Once one comes to terms with the dialog, at hand, Things to Do in Denver When You're Dead becomes your average mob flick, comfortably paced, sometimes fun in a gloomy way, and often brooding and dark, like the dapper characters it focuses on. If director Gary Fleder and writer Scott Rosenberg (who's eclectic filmography includes the amiable Kangaroo Jackand the wildly misunderstood Pain & Gain) has anything down here, it's the films tone, which knows when to be comedic and when to be haunting at just the right times.
Consider the scene when this particular operation goes wrong, and Jimmy and his gang land themselves in hot water. Up until this scene, the film has maintained a traditionalist mobster theme of being mildly dark and slightly comedic. When this incident occurs, it suddenly all goes black and the seventy of the gang's actions finally catch up to them. Fleder shows this nicely and packs a lot of character intrigue here with such a great cast.
Films centered around crime and the mobster lifestyle are often broken up into three categories with cinephiles: the classics, Scorsese, and everything else. While Things to Do in Denver When You're Dead exists in the latter, it is nothing shy of an enjoyable and intriguing viewing. The actors possess enough charisma and charm to carry out a screenplay like this, Fleder's direction always seems to hit the right tones, and Rosenbaum's writing always finds ways to take dark and exciting turns. The fact that the film has somehow mingled its way into being mistaken for a clone of one of the most popular crime dramas of all time is quite a shame because of how much quality is in its product to begin with.
Starring: Andy García, Christopher Walken, Christopher Lloyd, William Forsythe, Bill Nunn, Treat Williams, Steve Buscemi, Gabrielle Anwar, Jack Warden, and Fairuza Balk. Directed by: Gary Fleder.
Because of how Tarantino took convention and ordinary crime-drama filmmaking by storm, he obviously spawned many inspirations and "copycats." I only bring this up because, for reasons I have trouble understanding, people have written off Gary Fleder's Things to Do in Denver When You're Dead off as a Pulp Fiction ripoff. Since its release in 1995, the film has gone far under the radar and scrutinized, only to be viewed by the curious cinephile or a hardened crime drama fan; consider me both.
The film stars Andy Garcia, a leading man I, and many, it appears, have forgotten about as much as we forgot about this particular film. He plays "Jimmy the Saint," an ex-con looking to get out of the business and run his own shop where people record their wills for their family and friends before they die. Catering to the business serves as his day job, until he's approached by his paraplegic boss "The Man With the Plan" (Christopher Walken), who requests his services for one more little odd job. Unsurprisingly, the job goes wrong, and this means Jimmy is in the hottest water. Now, Jimmy must find a way to secure his own future, as well as continue to maintain stable connections, while pleasing his newfound love interest (Gabrielle Anwar) through all this chaos. In the meantime, we are introduced to a wide variety of characters played by big-name actors: a quiet hit-man nicknamed "Mr. Shhh" (Steve Buscemi), ex-gangster "Pieces" (Christopher Lloyd), petty-thug "Big Bear Franchise" (William Forsythe), the loquacious "Easy Wind" (Bill Nunn), and the argumentative and angry "Critical Bill" (Treat Williams).
The film bears a relatively age-old story, but the film is complicated by strangely vague dialog and an overabundance of characters with unique names. The dialog itself seems to be describing linear, straight-forward statements and requests and loading them with slang and alienating jargon that takes a great deal of time getting used to.
Once one comes to terms with the dialog, at hand, Things to Do in Denver When You're Dead becomes your average mob flick, comfortably paced, sometimes fun in a gloomy way, and often brooding and dark, like the dapper characters it focuses on. If director Gary Fleder and writer Scott Rosenberg (who's eclectic filmography includes the amiable Kangaroo Jackand the wildly misunderstood Pain & Gain) has anything down here, it's the films tone, which knows when to be comedic and when to be haunting at just the right times.
Consider the scene when this particular operation goes wrong, and Jimmy and his gang land themselves in hot water. Up until this scene, the film has maintained a traditionalist mobster theme of being mildly dark and slightly comedic. When this incident occurs, it suddenly all goes black and the seventy of the gang's actions finally catch up to them. Fleder shows this nicely and packs a lot of character intrigue here with such a great cast.
Films centered around crime and the mobster lifestyle are often broken up into three categories with cinephiles: the classics, Scorsese, and everything else. While Things to Do in Denver When You're Dead exists in the latter, it is nothing shy of an enjoyable and intriguing viewing. The actors possess enough charisma and charm to carry out a screenplay like this, Fleder's direction always seems to hit the right tones, and Rosenbaum's writing always finds ways to take dark and exciting turns. The fact that the film has somehow mingled its way into being mistaken for a clone of one of the most popular crime dramas of all time is quite a shame because of how much quality is in its product to begin with.
Starring: Andy García, Christopher Walken, Christopher Lloyd, William Forsythe, Bill Nunn, Treat Williams, Steve Buscemi, Gabrielle Anwar, Jack Warden, and Fairuza Balk. Directed by: Gary Fleder.