After Hours

This wasn't a big hit when it came out, but it should have been. Martin Scorsese is a master of creating atmosphere and exploring a specific setting, and he has proved that in movies like Taxi Driver and Gangs of New York. In this film he brings the SoHo of the early to mid 1980s to life in brilliant and surreal fashion. Griffin Dunne is a great Every Man character. You like him from the very first scene and you follow his adventures with excitement and dread. The tension in this film is also intense, and that is amazing for a light hearted comedy. I am always surprised to hear that people have not seen this movie, or that people don't like this movie. I urge all Scorsese fans to see it. It's one of his best, even though many critics did not like it when it came out. It's a cult hit, but it deserves to be more than that too. It's a masterpiece.

I was 19 when I saw AFTER HOURS in 1985. Back then, I thought it was funny as hell. But as a 54-year-old man, I can appreciate it even more.

In my 3.5 decades between my viewings, I've been to New York City many times, read Henry Miller, become familiar with the doo-wop songs on the barroom's jukebox, and (unfortunately) dated women who reminded me entirely too much of Marcy, Julie, and Gail. On the other hand: to date, I've been lucky enough to never be stalked by a vigilante lynch mob (unless you count Facebook). And the Mister Softee truck was a riotous touch!

I agree with the reviewers who call AFTER HOURS the most underrated Scorsese film. It features elements of what already him a great director, as well as glimpses into the future career of this master filmmaker.

'After Hours' is a really dark, nightmarish comedy and is one of Martin Scorsese's most enjoyable films. Griffin Dunne is perfection as the computer operator who meets lovely but ditsy Rosanna Arquette in a diner and arranges to meet her late one night. His journey to downtown New York goes hideously wrong when he loses his taxi fare and spends the rest of the evening trying to get home. Along the way we meet feisty Linda Fiorentino, whimsical Verna Bloom, Gorgeous but hysterical Teri Garr and Dusty Springfield look alike Catherine O'Hara. We also get to witness suicide, murder, robbery and vigilante mobs in this tale of big city madness. The camera-work is stupendous and features every trick in the book. There is much to admire in this film and thankfully it now has a DVD release with a commentary by the Director and star.

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.

After Hours starts off tame but slowly gets more and more strange. In general this is an entertaining movie and it will keep you guessing especially the first half of the movie. But tends to fall off towards the end.

Directing is well done, the quintessential dolly zoom on characters isn't missing here, a Scorsese trademark it seems. I love it though and it adds such a level of interest and importance to characters. There's some rotating shots and pans, some cool stuff. Lot's of variety. But nothing felt too special.

Music selection is great, no original score, just actual music from classical to punk rock and oldies. Scorsese does this a lot and they definitely liven up the scenes. Though the acting is the strongest factor for that here.

Acting is great and everyone has got this weird thing about them, none of the characters feel like they can be trusted except the main character and it makes it all the more weird when watching. There's always some way they blow up about something or act odd. It makes for entertaining characters and conversations which of course this movie needs considering it's 90% that. It's character heavy and the characters that are there are fine and acted well.

The ''story''... or more so an experience that main character goes through, is engaging. There's all these links between everyone but whilst some of them work others are just there for the only reason to have a link, even if it makes little sense. In general I think most of the linkage was odd. But I have at theory about all the events that happen, it seems like this entire experience was some sort of play on Hackett. Like everything was set up, like some weird artistic endeavor where they put a random guy in the middle of their art ''show''. Especially towards the end when he meets June. And the room he goes into with all the plaster, on the left in that scene you can see a stack of those bagel cream cheese whatever -paper weights like they were prepared for something. It would explain all the links. And the lack of follow up on the dead girlfriend from the police. And all the timing and distractions from the people he encountered.

That said that's just a theory. It's never said or anything. Generally though it was a pretty good movie.