When “Things to Do in Denver When You’re Dead” premiered at the 1995 Cannes Film Festival, it initially struck me as a film brimming with a unique spirit and boldness, especially when compared to other releases that year. However, upon revisiting it, my perspective shifted somewhat. I found myself more aware of its stylistic flourishes and contrived elements. The screenplay, while sharp, occasionally veers into overwriting, sometimes overshadowing the characters’ stories in favor of its own cleverness. Despite these mixed feelings, I still consider it an intriguing film, albeit one that falls short of being a masterpiece. If you’re looking for What To Do In Denver in terms of cinema, and appreciate dialogue-driven films reminiscent of Quentin Tarantino’s work, this movie might just be for you.
It’s worth noting that despite the stylistic similarities, director Gary Fleder clarified that “Things to Do in Denver When You’re Dead” wasn’t directly inspired by Tarantino. Screenwriter Scott Rosenberg had penned the script well before “Reservoir Dogs” gained prominence. While a direct influence may be absent, Rosenberg’s writing shares a similar vein with Tarantino’s early work. The characters converse with a blend of classic 1940s noir sensibilities and modern advertising copywriting, resulting in dialogue that’s consistently quotable. Lines like “Most girls, they plod. You glide along,” exemplify this style, aiming for memorable impact in every exchange. While the line “Maybe not today and maybe not tomorrow, but someday soon,” is famously from “Casablanca,” its inclusion, delivered by Andy Garcia in this Denver-set film, highlights the movie’s self-aware, referential nature.
Andy Garcia stars as Jimmy the Saint, who at the film’s outset, operates a peculiar service catering to the dying. His business involves recording video messages from those about to pass, offering advice to their loved ones. One darkly humorous example is a father’s advice to his son about women: “Treat them like dirt, and they come running.” However, the business is failing, and Jimmy finds himself in debt to the ominous Man With the Plan (Christopher Walken). The Man With the Plan, a right-wing figure who commands Denver’s criminal underworld from his wheelchair, offers to clear Jimmy’s debt under one condition.
The Man’s son faces serious charges of child molestation following an incident at a school playground. Believing that reuniting with an old girlfriend might help his son, the Man tasks Jimmy with a grim mission: intercept the girlfriend’s new boyfriend and “brace” him – a euphemism with violent implications.
Jimmy, a former criminal attempting to live a reformed life, is coerced into accepting the job. He assembles a crew of associates who make even Tarantino’s “Reservoir Dogs” look tame by comparison. This ensemble includes Critical Bill (Treat Williams), a man who hasn’t assaulted a living person in years, preferring to practice his violent skills on corpses in the morgue; Pieces (Christopher Lloyd), a projectionist in the adult film industry suffering from leprosy and experiencing bodily decay; and Franchise and Easy Wind (William Forsythe and Bill Nunn), who are slightly more conventional, though still part of the criminal fringe.
The film follows these five as they attempt to “brace” the boyfriend, devising an elaborate scheme reminiscent of a major heist, complete with a stolen police car and impersonations of law enforcement officers. A particularly humorous scene unfolds when they pull over the boyfriend. He becomes suspicious of Pieces, especially when he notices Pieces’ missing fingers and the lack of a regulation rain hat, leading to the line, “Tell me, Officer Leper . . .” and quickly seeing through their facade.
Romance intertwines with the criminal plot, as Jimmy the Saint finds himself involved with two women. He is immediately captivated by Dagney (Gabrielle Anwar) in a bar, drawn to her almost ethereal presence, telling her, “Girls who glide need guys to make them thump.” However, as danger escalates, he seeks solace and connection with Lucinda (Fairuza Balk), a prostitute with a striking resemblance to a wounded Judy Garland, and predictably, a heart of gold beneath a tough exterior.
Throughout the unfolding events, a retired hood named Joe (Jack Warden) observes from a local diner. He acts as a kind of Greek chorus, providing commentary on the action, often while Jimmy the Saint is shown consuming milkshakes to soothe his stomach ailments. While Joe’s commentary isn’t strictly essential to the plot, it provides additional dialogue and perspective.
Ultimately, “Things to Do in Denver When You’re Dead” doesn’t fully achieve its potential. It can feel overly stylized and verbose, and its self-conscious mannerisms sometimes hinder the development of genuine narrative momentum. However, as a stylistic exercise, it offers moments of genuine humor and maintains a consistent energy. It serves as a showcase for Rosenberg’s writing talent and Fleder’s directing ability. Perhaps with a bit more restraint, their future collaborations could be even more impactful. For those exploring what to do in Denver from a cinematic perspective, and who appreciate neo-noir with a quirky, dialogue-heavy approach, this film provides a distinctive, if flawed, experience.
