Die Zeit nach Mitternacht

Martin Scorsese has always been a master of kinetic filmmaking but After Hours is really where he starts cranking up the energy even more. This movie is simply alive in a way that most movies aren't. Everyone in it has a story to tell and we're ready to hear them all.

From the cocktail waitress who seems stuck in the 1960s to the ice cream truck driver who wears a rape whistle to the stoic bouncer outside the punk bar and of course the sculptor who lives under the bar and has no scruples about using live subjects, there are so many weirdos in this film it's fantastic.

I've seen plenty of New York movie but I'm not sure I've ever seen any make the city feel so oppressively large. There's a great sense of space in this film and it genuinely feels hopeless for Paul to try to get home, which could sound like a dumb premise for a movie until you see it handled here. The journey is downright epic and Scorsese uses every visual technique he learned in school to keep the tempo cruising through this long trip.

I wasn't bored for a second at any point during After Hours and you won't be either. This film is alive and Thelma Schoonmaker does maybe the best work of her great career at an editing bay. She should've gotten an Oscar nomination. This film is simply a master class in pacing.