Fuori orario

Such a dark, ironic and uncomfortably funny string of events plus a large helping of bizarre, paranoid and unpredictable characters have never before been forged into one story.

The film follows Paul Hacket (Griffin Dunne) on a date from hell, where from square one it all goes horribly wrong. As we move on, the mood winds up into a frenzied nightmare as this poor mans' plight goes from bad to worse. "All I want to do is go home" he says, running for his life from an angry mob.

The story isn't complex, which you may think could bore, but the characters are so delightfully wacky that you can't help but be transfixed.

We've all had bad days when we've said "Phew! What a nightmare!" - well forget it, until you've taken half the knocks this guy does, you've had but a walk in the park.

Don't just rent this movie - buy it.

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.

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.