Dr. Richard Thorndyke arrives as new administrator of the Psychoneurotic Institute for the Very, VERY Nervous to discover some suspicious goings-on. When he's framed for murder, Dr. ... See full summary »
A wounded criminal and his dying partner take refuge at a beachfront castle. The owners of the castle, a meek Englishman and his willful French wife, are initially the unwilling hosts to ... See full summary »
A meek word processor impulsively travels to Manhattan's Soho District to date an attractive but apparently disturbed young woman and finds himself trapped there in a nightmarishly surreal vortex of improbable coincidences and farcical circumstances. Written by
Gabe Taverney (email@example.com)
The "key drop" shot, where the camera drops vertically while tracking on Griffin Dunne, was done in two takes. In the first take, the camera lens was put through a hole in a wooden board and then the board was dropped from the roof with bungee cords. After the first take was done, producer Amy Robinson, director Martin Scorsese, and cinematographer Michael Ballhaus refused to do the shot like that again for fear of Dunne's safety. According to Robinson, the bungee cords started smoking. Dunne, on the other hand, was oblivious to the danger and was ready to do another take. Ballhaus filmed the second take with a fast crane move. See more »
When Paul asks June to join him for a drink, he begins to approach her table walking towards his right. But as the scene switches, he's then suddenly walking in the opposite direction towards his left. See more »
[Paul and Lloyd in front of a computer terminal]
Alright, punch. Punch it in.
Okay, let's, first of all, refresh the screen here. Alright, and go into "format ruler".
[Lloyd punches at the keyboard]
All right. Now, file?
[presses a key]
[...] See more »
The closing credits are displayed over a moving shot of Paul's office, during which more and more employees show up for work. When the camera passes Paul's desk again, he has disappeared. See more »
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.
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