‘Things to Do in Denver When You’re Dead’ 4K Ultra-HD movie review

Director Gary Fleder’s quirky crime drama was a bust at the box office back in 1995 and now looks for a cult audience appreciation through the ultra-high definition format in Things to Do in Denver When You’re Dead (Kino Lorber, rated R, 1.85:1 aspect ratio, 116 minutes, $44.95).

The violent tale introduces retired mobster Jimmy “The Saint” Tosnia (Andy Garcia) who runs Afterlife Advice in Denver, a business where dying people videotape messages for their loved ones.

Former boss, a Man with a Plan (Christopher Walken), calls in a debt from Jimmy to help his son Bernard (Michael Nicolosi), a child molester, with getting his girlfriend back in the hopes of curing his mental malady.

Jimmy puts the gang back together, including rageaholic Critical Bill (Treat Williams), easygoing Pieces (Christopher Lloyd), family man and muscle Big Bear Franchise (William Forsythe) and life-loving thug Easy Wind (Bill Nunn) just to scare her current boyfriend.

Of course, things go horribly wrong and a Man with a Plan decides to order “buckwheats” (killing the most painful way possible) on the entire group.

As expected, the entire cast shines with Mr. Walken leading the way, offering the perfect imitation of Mr. Walken as the wealthy paraplegic crime boss.

And, pay close attention to the appearance of veteran actor Jack Warden as Joe Heff (sort of a narrator to the proceedings while hanging out at the “Thick ’n Rich” ice cream shop), Don Cheadle as tough guy Rooster, Steve Buscemi as the assassin Mr. Shhh and even guitar legend Buddy Guy playing himself in a house band.

Viewers do not get the brilliance of a “Pulp Fiction,” but do get caught up in a dialogue-heavy character study with some blackest of comedy moments and politically incorrect diatribes often reminiscent of a Quentin Tarantino or a Nicholas Pileggi screenplay.

4K in action: Kino Lorber delivers a screen-filling presentation originating from a 4K scan of the 35mm original camera negative to highlight cinematographer Elliot Davis’ rich vision of capturing neo-noirish production design.

For example, appreciate the blue illumination over slats of a close carnival game with Jimmy in front of a lit Ferris wheel with red lights in an old amusement park; or a 1975 cherry red Oldsmobile Delta 88 Royale convertible pulling up along a street and a parking lot with neon pink background lighting.

Also, look for plenty of colorful panoramic views of Denver and its surrounding mountainous terrain as well as an unforgiving clarity when watching humans suffer.

Best extras: First and really appreciated, Kino Lorber offers two brand new optional commentary tracks.

First, the director and writer Scott Rosenberg dives into the genesis of the project (labeled by Mr. Rosenberg as a metaphor for a terminal disease). He touches on the importance of a great cast; setting the film in Denver (where washed-up gangsters go); specifics such as watching Mr. Walken’s multiple takes to get the dialogue perfect; editing the initial scene between Mr. Garcia and Mr. Walken; and dissecting the acting of other scenes.

The track is well worth a listen, considering the pair waited three decades to sit down and comment on the film.

Next, film historian Daniel Kremer methodically explores and analyzes, in a very conversational style, the production, starting with calling out the movie’s unfair comparisons to “Pulp Fiction” and any Tarantino copycats.

He then dives deep into each actor’s credits and brothers Bob and Harvey Weinstein, the producers, vying for Oscars; explains the evolution of Hollywood studios’ strategy for investing in films; and details his source for talking about the film.

The Margaret Herrick Library in Beverly Hills, California (the repository for the Academy of Motion Picture Arts and Sciences), offered press clippings, storyboards and even shooting schedules to research the project.

Next, viewers get a quartet of 2022 retrospective interviews from the Imprint limited Blu-ray release.

Start with 18 minute with the director as he discusses casting; the fear of “Pulp Fiction” coming out while shooting the film (and knowing it would diminish its impact); the fearless cinematography; the film’s rough start in previews; bigger trouble when film reviewers Gene Siskel and Roger Ebert gave it two thumbs down; and his appreciation for Mr. Rosenberg’s partnership.

Next Mr. Rosenberg gets 16 minutes to cover his journey to Los Angeles and screenplay career; writing the script to deal with the death of his father; his collaboration with Mr. Fleder; tightening up the script to the detriment of the love story; remembering each actor’s devotion to the script; and setting out to invent dialogue loaded with unknown slang.

Mr. Garcia then offers 19 minutes on how he loved the script and immediately wanted to do the movie; an analysis on his character’s motivations and evolutions, including his romance; and mentions that working with Mr. Walken was a highlight of his career (likes to run lines as a German sub commander).

Finally, 23 minutes with production designer Nelson Coates covers scouting and designing key locations that would be both iconic and part of Denver to build a neighborhood; specifics including creating the entire “Thick ’n Rich” ice cream shop (all fabricated over the actual shop); building a stage for Buddy Guy to perform; shooting at a cemetery in Boulder; and marketing the movie in the U.S. and Europe.