GwydionMW Definitely not realistic. Every damn character is improbable. A mob boss trusting a delicate operation to someone who's not worked for him for years is ridiculous. Likewise him recruiting three incompetents and not picking up obvious signs that one of them should be kept well away from the 'front line'.But if the intention was humour, there is a lot too much real suffering for any normal person to laugh.Also it's racist. There is a major black character, but he does nothing sensible. Other blacks are shown as incompetent.And evil characters get their own sort of heaven? What sort of fool scripted it?

skeptic skeptical Don't ask me why, but I watched this movie twice. Maybe because it was set in Denver, where I grew up. The setting of this story seemed to be a very different place from the city of Denver familiar to me. Or perhaps I watched this production a second time simply to verify that this was not a great film. Fait accompli.There was some good acting in this production, no doubt, but the characters were almost all caricatures. And then there's the story itself. The Andy Garcia character has managed to extricate himself from the world of the mob and "go civilian". But then his old boss has him chased down to do one final "action"—not a "work", but an "action". He is supposed to not kill but frighten away the lover of the boss's son's former girlfriend so that the son (who has become a pederast--what?) can be reunited with the love of his life. Who does the Andy Garcia character call on to help him carry out the "action"? A team of misfit losers, all of whom have done time in prison and are therefore of questionable competence. Predictably, the incompetent team members prove incompetent here as well, and end up killing not only the guy whom they are supposed to scare, but also his girlfriend. The boss, who is a paralyzed, ghoulish Christopher Walken character, decides to "buckwheat" the lot of them, which we are told means make them suffer before they die. However, he gives the Andy Garcia character the opportunity just to leave town, which he ends up not doing because he's too busy trying to save all of the others.There is so much detail to this densely embellished story, but none of it really adds up to anything. I feel as though the screenwriter was trying to jam all of his interesting ideas into a single script. Sometimes less is more, and this story could have benefited from the removal of some of the colorful but ultimately irrelevant "script- stuff", for lack of a better expression. Did the son of the boss really have to be a pederast? Did the Vietnam Vet really have to use corpses as his punching bag? It was all too much. Like eating a dozen donuts and a bag of potato chips and a submarine sandwich and a candy bar, and maybe washing it all down with a couple of beers.Steve Buscemi makes a short appearance (maybe that's why I gave this a second chance?), and there is a sort of happy ending when the druggy- prostitute pregnant survivor of the story moves to Florida to raise her child and become a masseuse. Honestly, I don't even know what is worth reporting here. It would take way too many words! So let me just end by avowing that I definitely will not give this high-calorie, low nutrient production a third try.

Steve Pulaski 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.

justincward TTDIDWYD is only of any interest if you look for the parallels with The Sopranos - the cast, the pseudo-realistic style, the whole 'being a mobster is no picnic' shtick. The opening scene particularly, following Andy Garcia driving through suburbia with a hard urban soundtrack, is very suggestive of the Sopranos' opening credits.Apart from that, TTDIDWYD isn't much cop. Andy Garcia fails to generate any sympathy - or anti-sympathy - for the character because the script makes him out to be a moron, Christopher Walken fails to convince on any level whatsoever, and the way that 'Jimmy the Saint' sets himself up for catastrophe is so obvious that you get impatient to see how it all goes wrong. "Let me be a cop, Jimmy!", says the super-flake Treat Williams. "Oh, all right then!", says Jimmy. "Idiot!", says the viewer.Only worth watching if you're a Sopranos fan wanting to see a sort of early failed attempt.