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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.

Out of all the Scorsese films - I would have to admit this ranks in the top five. After Hours draws you into it's dark and surreal world with fantastical wonder. The characters are all interesting, the acting superb - especially Griffin Dunne - and the pacing is great.

It was made in 1985, and I can already see the techniques Scorsese used in Goodfellas - and the quick editing. It is directed and edited really well. So if you were a fan of Scorsese's frantic camera work in Goodfellas and Casino, this film is for you.

It really does put you on edge - as a viewer, you really want Dunne's character to get back home - but everything possible that could happen to him - happens. This is not just a evocation of soHo in the early 80's - it is a deeply black comedy. All the rules go out the window for Dunne's character, because after all it is after hours.

Scorsese really is the best living director at the moment - so do yourself a favour and watch this movie - it's fantastic.

'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.

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.

This is one of Scorsese's lesser known films which is a travesty. Griffin Dunne plays a cubicle working blue collar- the type that was so rampant in the mid 80s, who accidently experiences a series of bizarre misadventures in New York City. This is not typical Scorsese fare and one reason it works is because of the legendary filmmaker's deft skills- the atmosphere is amazing as is the pacing of the film. The protagonist is relatable in an everyman lost and confused kind of way. Like a bad dream or surreal experience After Hours is one hell of a ride. As stated in the opening line of this review- it is a travesty that more people aren't aware of this film.

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.

I tried very hard to like "After Hours," Martin Scorsese's surrealist head trip about a straight-laced word processor (Griffin Dunne) who ventures off into the SoHo night and gets trapped inside a frustrating nightmare. It's an interesting premise for a film -- what goes on out there in the nocturnal world while the rest of us are fast asleep? But I couldn't help but feel that the film was trying too hard, like its creators were intentionally setting out to make something that would eventually end up as a cult classic. That it did doesn't make the movie any better. The best cult classics are those that become so naturally, not those that are manufactured to be so.

Griffin Dunne is on screen nearly constantly, and he does well with his role, gradually working himself up to a nearly hysterical pitch of frustration in his failed attempts to get back to the safety of his home. The supporting cast is peopled with recognizable faces in cameos: Teri Garr, Catherine O'Hara, Cheech Marin, Rosanna Arquette. But no one is really playing a character, and no one really gets much to work with. I wasn't bothered by the implausibility of the film; implausibility is the film's point. But I did get somewhat bored by the arbitrary plot twists, and the fact that I couldn't connect with anyone in the film, not even Dunne, whose character is vaguely unlikable.

I did like the film's ending, though. It nicely captures that feeling of waking from an unsettling dream into the familiar world that you know and recognize.

Grade: B

I saw this when this first came out about 19 (!) years ago, and it became my favorite movie of 1985, and probably my favorite Scorsese film ("Goodfellas" is right there with it). However it always seemed that I was the only one who felt that way. It was no sensation at the box office (even by art film standards), it was ignored by all the awards as far as I remember, and no DVD release.

Until now. First off, I am happy to report that the new DVD release looks and sounds great. It feels like the film came out last year.

Now, years down the road, you really appreciate how accomplished "After Hours" is in the wake of 100s of inferior indie releases that ape the urban paranoia and "downtown" sensibility that this seems to effortlessly catch. The film is pitch perfect:you sense a filmmaker in complete command, but the film is always off balance (as intended). The plot seems to flow randomly and the movie always defies your expectations, yet it's as tightly assembled as a jigsaw puzzle.

It's easy to catch the Scorsese style of shooting and editing, really starting to roll here (before taking off in "The Color of Money" and "Goodfellas"), as the engine of the movie. You have to remind yourself that every other director was not trying to make movies this way at this point (1985), and that you are watching the inventor, not just the best practitioner.

But don't overlook the cast's contributions. Perfectly cast down to the smallest roles (yes, I mean you Dick Miller), few things are more enjoyable than watching an able cast take the ball and run with it. Obviously having a blast, they not only jump into their parts, but they have no hesitation at being unlikable and annoying. Particularly Griffin Dunne, the perfect Everyman, who becomes more and more of a jerk as the night wears on.

Poor Paul Hackett. A chance meeting with a woman in a diner leads him later to taxi some distance to where she is staying. Once there he realizes that things are not going well and he wants out, but he just can't extricate himself from the complexity of circumstances that prevent his finding his way back home.

I found this film to be one of the most artificially constructed and highly stylized I have seen. I reacted to it more as one long anxiety dream than as comedy, although in a different context, like Charlie Chaplin moving from one frustration to another, I can see the comedic potential. Perhaps on second viewing I would be more receptive to the comedy rather than the anxiety.

Paul's interactions with the people he encounters on his nighttime odyssey are all, well, rather weird. So weird in fact that none of them is quite believable. But, I suppose they are no more than exaggerated riffs on personality types that are more familiar, at least in New York.

An intriguing aspect of the film is that, while recognizing it as pure artifice, I was sucked into the story. I suppose that is testament to Scorsese's skill as a filmmaker.

Perhaps one of the Scorsese minor masterpieces that sometimes get lost when considering "Goodfellas" or even "Mean Streets," films that get the bulk of the chatter. This, along with "King of Comedy" run in a very different vein, combining black comedy with tension and suspense as a central spine to the piece. Sure, Goodfellas has some black comedic moments, but on whole, it stands as a "drama" rather than a comedy. This is a VERY different film and will cause you to laugh and to shake your head in sympathy and mutter "Oh NO" more than once. I rated it a 9, I have no idea why this got lower marks than that. See it more than once.

This is my favourite of all Martin Scorsese films. I didn't say it was his best, but for my time and money, I'd rather watch "After Hours" once a month for the rest of my life than anything else he's ever directed.

Unlike "Taxi Driver", the vehicle for hire here inspires a ridiculous, yet strangely believable idiotic odyssey through darkest Manhattan, as Griffin Dunne (never better) is simply looking for a nice woman to spend a few hours with and ends up fighting for his damn fool life instead. His Paul can't get a break until art intervenes (suggested by the late, great Michael Powell), bringing this hilarious endurance test back to square one again.

If you've never watched this, you're in for a treat. Linda Fiorentino and Rosanna Arquette (each at her sexiest) are terrific in the night and day loft mate roles. Character specialists Will Patton and John Heard get the best parts of their early careers. And the disc has one of the most rewarding and complementary to it's subject special features ever, definitely worth giving nineteen minutes of your time to. The pre-Disneyfied New York on display is both charming and deadly.

Wow, this is another strange movie. Maybe "bizarre" are even "weird" would be better descriptions. Since it's a favorite of national critics, you know it's not a movie that most normal people are going to like.

I watched this movie twice, and found it to be one of those films that is very interesting the first time around, but tiresome and almost stupid on the second look. Some movies are like that, mainly the ones which are wacky and the viewer is shocked at what he's seeing. When the shock wears off, it isn't so entertaining. That was case here. On the first look, it kept my attention because I was wondering what crazy thing was going to happen next. It's hard to explain this film because its a combination of genres and an attempt at black humor. I say "attempt" because on the second viewing, I didn't find it very funny. Be warned, too, on the first viewing: the first 25 minutes are slow, and then it picks up, so stick with it.

Paul Hackett (Griffin Dunne) is an attractive, unattached, upper middle class Manhattan computer programmer. Hoping for a romantic adventure, Paul arranges a date with a young woman who lives in Soho, a part of Manhattan populated by people who prefer a more bohemian lifestyle. But Paul loses all his money en-route to the woman's apartment. And the romantic encounter doesn't quite work out like he had hoped. Disappointed, Paul just wants to go back home. But fate has other ideas. He becomes trapped in a twilight zone of bizarre clashes and surrealistic frustrations.

The entire story takes place in the course of one night. Few people are on the streets, as it is a work night. And off-and-on rain adds to a feeling of helplessness and entrapment in Hades. The film's mood alternates between subtle humor at the predicament Paul has gotten himself into, and melancholy angst.

Griffin Dunne is ideal as Paul: likable, smart, reasonable, slightly guilt-ridden and out of his league in an underworld of non-conformists, misfits, petty thieves, and other human creatures of the night. The message here is that one can be successful and comfy in a world of one's own choosing, yet a foreigner and even viewed as a threat in a different setting. Further, we are just one mistake away from the misery of a world where fate rules.

The film's acting and eclectic casting are fine. Noir lighting is impressive. The film's score is subtle. I especially liked the songs: "Over The Mountain" and "Is That All There Is?", both of which add to the film's nightmarish atmosphere.

The way Paul loses his money is a little hokey. And the plot becomes increasingly silly and preposterous toward the end, as each subsequent frustration has to be continually worse than the previous one.

Overall, however, "After Hours" is an enjoyable film. It is an especially good choice to gain a sense of perspective. Not many ongoing experiences can be worse than the rough night that Paul has in Soho.

One of my tops. Classic NYC and holds up. The story is so something I'll never let go. Under rated.

After Hours (1985) is a black comedy (also known as dark comedy) movie by Martin Scorsese that captures his excellent skills in cinematography. His signature style is very noticeable if you have seen his films and adds a unique touch to the film.

I was really captivated by the story of this theme. It is full of sharp dialogue and witty observations. Hence, I was very invested in it, and that's saying a lot, considering Joseph Minion's talent for dialogues that have depth. The script is interesting and highlights, in my opinion, the movie's main theme - trust no one. It was explored in a way that is both funny and thought-provoking, and at the same time a sense of pettiness from the protagonist's perspective. This is what black comedy is all about. Hence, the main character is sympathetic and relatable.

After Hours (1985) initially reminded me of an episode from SpongeBob SquarePants called "Rock Bottom". Both narratives have a similar structure, but they tell their stories in different ways, which makes them interesting to compare.

The movie's length is just right, not too long or too short, capturing the story without staying too long. I kept investing in the movie because I found the plot and the characters interesting. After Hours (1985) is a movie that keeps you on the edge of your seat, making you think about how life can be unpredictable and how people's intentions can be complicated.

Overall, I believe that After Hours (1985) is a very well-made and entertaining film. It is a must-see for fans of Scorsese and black comedy.

To get an understanding of the caliber film we're dealing with, you have to imagine some of the finest elements of other films being wound into a tight 95 minute package and directed by the incomparable Martin Scorsese. After Hours reminds this critic in many ways of Stanley Kubrick's Eyes Wide Shut. But somehow it seems to be about the best elements of that film. Our film deals with a mild-mannered Manhattan office worker taking a late night trip to the Soho district to meet up with a beautiful woman he first encountered earlier in the evening. So, much like with Tom Cruise in EWS, we have a protagonist searching for love in a world completely foreign to him. But instead of a never ending and overly talky film, we get a tightly wound and much better paced film from Scorsese. When the film does slow down for conversations, the ones we're treated to are comparable to the best Tarantino ever wrote for any of his films. Fortunately we don't get too many of them, like we would in a Tarantino film, however.

Griffin Dunne plays Paul Hackett, who is bound and determined to hook up with Marcy (Rosanne Arquette) whom he met in a restaurant earlier that evening. Once he makes it to Soho, Paul quickly realizes this spur-of-the-moment rendezvous may have been a terrible idea. Apparently Soho is (or was in 1985) a macabre place full of eccentric artists, bondage enthusiasts, and vigilante mobs made up of mostly gay people. Not only does Paul fail to score with Marcy, he ends up being stranded in the neighborhood with no money to get home, and being blamed for several apartment break-ins by a crowd that wants his blood! Every place or person he turns to for help seems to get him deeper and deeper into danger. There are all kinds of famous or soon to be famous people popping up in little roles here and there. Will Patton as a leather clad bondage enthusiast may be the most odd. Also look for Scorsese in a nightclub sporting a beard and shining a spotlight down on the rowdy patrons.

Unlike many Scorsese films, this one does not rely much at all on violence to get the point of danger across. I believe there is only one violent death, and the victim is not a main character. But in true Scorcese form, the scene produces a laugh! More than anything else, this film has a claustrophobic feeling. It's as if the world is crumbling all around Paul Hackett, and the next door he walks through may be his last. By the final fifteen minutes, he finds himself in the apartment of a gay man he picks on the street. To the man's obvious disappointment, Hackett simply wants someone to tell his story to. Before the scene has any type of logical conclusion, Hackett finds himself back on the street running for his life once again. His momentary attempt at finding compassion shattered in the blink of an eye. The whole film is kind of like that.

After Hours may not be for all tastes, but this critic first saw it back in junior high and never forgot what a treasure it is. 10 of 10 stars.

The Hound.

Imagine starting a conversation with someone at a café, agreeing to meet up with them and then having the worst experience you could ever imagine. Well that is essentially what this film is about.

Mainly After Hours is a comedy and ultimately it doesn't provide much of anything deeper than a good laugh. However the way in which the story is told gives After Hours a very uniquely dark vibe, that makes the film stick out from your typical 1980s comedies. Structurally the movie has a very repetative flow that might turn some people off, but for me the captivating energy is more than enough to keep the film entertaining throughout. Besides the repetative nature is rather effective at conveying the nightmarish experience the protagonist is confronted with.

So the jokes work well and the atmosphere is endearing, but what else does the film offer? Honestly not that much, overall After Hours is pretty simple and straight forward picture. Yet that isn't to say that it isn't well made, the acting is good, the editing is nice, there are some really cinematically interesting shots and the music works well enough. Overall there isn't anything particularly exceptional about Martin Scorcese's After Hours but there isn't all that much to criticize either. At the end of the day I'd say that it is a worthwhile film for anyone who can appreciate a darker comedy.

Rating: 7/10.

This movie was not funny or whimsical the story line was a B movie And there is barely any member of this cast whose acting career or hopes weren't flushed down the drain. When Marty leaves his element of The Gangster/Corruption story to avoid the typecast he fails. I'm sick of Hollywood and critiques praise Garbage because the bulk of his work has been solid. This was garbage.