After Hours - Movie Reviews - Rotten Tomatoes

After Hours Reviews

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May 23, 2018
One of the most underappreciated films of all time.
½ May 9, 2018
On the surface it is a really weird movie but digging a bit deeper it might look not that strange at all: an ordinary man in the fast-changing world which gets weirder and weirder without letting the man to adapt to it.
January 2, 2018
This is a case of what would have been a pretty good film turned into a great one by the fairly unlikely recruitment of a master director who was exactly in the right frame of mind to work on it. This small indie black comedy based on a script by a very young fellow was going to be directed by Tim Burton before Martin Scorsese became available after he simply could not get "The Last Temptation of Christ" made. Scorsese seems to have focused all his anger and paranoia into making one of the blackest comedies you could imagine. This is simply a comedic masterpiece.
December 25, 2017


[Martin Scorsese]
November 28, 2017
Suspense, as Alfred Hitchcock put it, is an audience knowing that a bomb is under the table while the characters don't. This has been the rule of thumb ever since, and most films who have tried to divert from this formula fall flat on their face. To my knowledge, there has only been one exception: After Hours, a 1985 film by Martin Scorsese that nobody ever talks about. Here's a movie that tightens the figurative knot of tension to an almost unbearable level. It's advertised as a comedy, and while funny in retrospect, it is one hell of a thriller, and I mean that literally. While not quite dreamlike enough to qualify as Kafkaesque, the infinite sense of urgency crafted by director Scorsese is some of the best since Rear Window. However, After Hours is not a vehicle for general excitement, mostly the consequence of our lead character's innumerable misfortunes, which mostly causes the average audience member to become more intrigued and frustrated. In most films that would spell certain death, however in this case it's instrumental in the movie's success. Scorsese does this simply: by teasing you. He'll build something up, and then cut it off. What's most remarkable about it is how it's achieved through editing, for which Hitchcock advised as a filmmaker's greatest tool. I can't exactly call him a pioneer in this area, yet even then he draws on such classic suspensers as High and Low without ripping anybody off. He does with this shots too, keeping them very frenetic and tight, somehow trapping us in the terrifying mare's nest that we can all sympathize with, without honestly ever enduring it at this severity. It really is an incredible film, unless you're one of those types who find the sight of characters falling into enigmatic, entirely coincidental plights dreadful. In that case, you're sure to walk out of this film feeling very bad. Even then, I would still would administer it to most, because by avoiding it you are robbing yourself of an extremely entertaining 90 minutes of nervewracking hilarity straight out of Curb Your Enthusiasm. Essential example of nonconformist filmmaking.
½ October 22, 2017
I was 13-years old when this film came out and for whatever reason, it absolutely clicked with me and I became kind of obsessed with it. It was around this time that I started to notice film directors and the visual flair Martin Scorsese brought to this picture dazzled me, as did the offbeat story. Taking place within the space of one evening in Soho, Griffin Dunne calls up a woman, Rosanna Arquette, for a date who he just met at a diner. From there his evening becomes a series of strange interactions with the color, offbeat, and downright strange denizens of NYC at night. Dunne is the identifiable "normal" everyman character who just wants to go on a date but instead finds his money flying out a cab window, buying weirdo pop art from Linda Fiorentino, befriending a 1950s refugee, Teri Garr, awkwardly finding himself helping Arquette's ex-boyfriend, John Heard, and that's just the beginning. From there it just gets weirder as he runs into other colorful characters played by Cheech & Chong, Catherine O'Hara, Verna Bloom, Will Patton, Victor Argo, and the great Dick Miller. Scorcese's "comedy" nearly becomes a horror film in the mold of "Repulsion" or the "Tenant" with Griffin Dunne's evening turning into something of a surreal comic nightmare. "After Hours" was part of the cycle of "Yuppie Nightmare" films, which included the likes of "Into the Night," "Something Wild," or even "Blue Velvet," a somewhat forgotten sub-genre. Kudos also go to Howard Shore for his fine score and to Michael Ballhaus to his dizzying photography. Overall, this is Scorsese's most "1980s" of films and I think one of his most underrated, very much worthy of it's cult status.
October 10, 2017
This overlooked classic from the legendary Martin Scorsese is one of the craziest black comedies I've ever seen, and it's an absolute joy from start to finish.
½ July 30, 2017
Joseph Minion's script is wonderful and outlandish but with Scorsese it becomes one of the greatest indies of all time.
July 9, 2017
Cara... Esse é um filme bem controverso, a trilha do filme é muito boa. Aqui o Martin tenta fazer um aspecto de mistério, junto com uma comedia dark presente no filme. O roteiro em geral é bem escrito, mas eu sinto que tem uma caida de ritmo em algumas horas, uns furos que incomodão, e a falta de motivação dos personagens é tipo "Ah, todo mundo tá fazendo vou fazer também", o 3° ato foi inesperado e eu particularmente não gostei, e nem achei engraçado, mas em geral o filme passa uma mensagem social presente em Nova York, e eu gostei do filme, achei bem divertido e confuso.
Nota: 8.2
½ May 14, 2017
Late one night, Paul Hackett meets a girl, Marcy, in a diner. She gives him her phone number and later that night he calls her. She invites him over to her place, which is across town. At her place things don't quite work out and Paul decides to go home. However, he has no money for cab or train fare and things are about to get very weird, leading to a situation where his life is in danger.

One of Martin Scorsese's least-known movies, and there's a reason for that. It is not that good. It had potential, as a quirky comedy or an intense drama, but it's these very possibilities that doom it to failure. Instead of picking one of the two courses and sticking with it, Scorsese tries to have a bet each way, making it a quirky comedy with deadly serious thriller aspects to it too, and the two sides don't gel (how could they, possibly?).

Difficult to view it seriously as a thriller, when you have these comedic moments. Difficult to laugh when the danger may be real. This conflict makes for an uneven experience.

Not funny enough to be a good comedy (though there are some good moments), not intense enough to be a good drama. The comedy itself mostly revolves around trying to throw as many wacky characters and situations into the mix as possible, and this gets rather tiresome, rather quickly.

The adventure that befalls Paul Hackett is quite a roller-coaster ride though, and it is this ceaseless momentum that prevents the movie from being total waste of time. Ending is quite poetic too.
May 9, 2017
A very dark but realistic comedy, which is certainly an underrated Scorsese film. It sort of never gets resolved but you root for the protagonist as you too become frustrated with the absurdity of what is happening.
April 12, 2017
Story about a guy who starts out on a date but ends up running around NYC all night meeting weird and wild people. Very entertaining. Not dated at all. One of Scorsese's best.
March 19, 2017
Not usually remembered as a Martin Scorsese's masterwork, this Kafkaesque comedy about a working man's incredible misadventures in the nocturnal underbelly of NYC expresses best the exasperation of a hard-luck everyday man. A little too well for its own good, one must say.
September 1, 2016
It only happens in My Shattered!
½ May 2, 2016
After Hours is very entertaining and thrilling, it's not funny at all to me, but I enjoyed it a lot.
March 24, 2016
It takes a bit too long to pick up, but "After Hours" proves to be mostly worth the wait.
½ March 15, 2016
It wants to be something. But even it's not sure what. Scorsese's mortgage payment was due. Tendency toward hollow showboating has rarely been more in evidence ... Ends as an atonal exercise made by artists with little if anything on their minds. Only the same 4 people live in New York City. I tend not to like the comedy of errors. This gets better toward the end. Lot of homo pervs, though. I like how it goes full circle.
½ February 15, 2016
2.5 / 5. Martin Scorsese made this little seen comedy in 1985, just after "The King of Comedy". The irony is that the latter works as a twisted character study, is immensely engaging and memorable but not particularly funny, whilst "After Hours", intended, supposedly, as a straight up "date night gone wrong" comedy, is a complete misfire. The screenplay itself, so replete with dated mysoginisms, with our hero's wish to get laid as a central character motivation, make for hollow entertainment at best. The discomfort the protagonist has with learning about a woman's potential burn scars by discovering her tube of medical cream (and this was 10 years before "Seinfeld", too) is not amusing but sad and frustrating, the plot device of her past history of torture a far too bleak one for it work in a comedy. Perhaps Scorsese considered such elements of the writing to add dark flavour and edginess to the material, but it all amounts to the lead guy being unlikeable and the women in the film being unfunnily portrayed as hysterical neurotics. The deftness of Scorsese's directorial hand is seen no less here than in his other films, placing this superbly lit and shot film at discomfiting odds with its immature, ugly writing.
February 14, 2016
At times it is really tedious, ridiculous and even annoying but it is dazzling to look at. A great lead performance from Dunne and the variety of supporting oddball characters played by Arquette, Heard, O' Hara and Fiorentina who gets the charlies out. Plus a text book cameo from the legend that is Dick Miller.
February 9, 2016
".. movies are like dreams or drug-induced reveries."
- Martin Scorsese

So that's a good description of this here film. Here's an extension to that motive/expression: "He admits attempting to incubate within the viewer the feeling of being in a limbo state somewhere between sleeping and waking."

Sound familiar?
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