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After Hours (1985)

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2:05 | Trailer
An ordinary word processor has the worst night of his life after he agrees to visit a girl in Soho who he met that evening at a coffee shop.

Director:

Martin Scorsese

Writer:

Joseph Minion
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Popularity
2,833 ( 125)
Nominated for 1 Golden Globe. Another 3 wins & 9 nominations. See more awards »

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Cast

Cast overview, first billed only:
Griffin Dunne ... Paul Hackett
Rosanna Arquette ... Marcy
Verna Bloom ... June
Tommy Chong ... Pepe (as Thomas Chong)
Linda Fiorentino ... Kiki
Teri Garr ... Julie
John Heard ... Tom the Bartender
Cheech Marin ... Neil
Catherine O'Hara ... Gail
Dick Miller ... Waiter
Will Patton ... Horst
Robert Plunket Robert Plunket ... Street Pickup
Bronson Pinchot ... Lloyd
Rocco Sisto ... Coffee Shop Cashier
Larry Block Larry Block ... Taxi Driver
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Storyline

A meek word processor in New York impulsively travels downtown to Soho for date with an attractive, but apparently disturbed young woman, and finds himself trapped in a nightmarishly surreal vortex of improbable coincidences and farcical circumstances. Written by duke1029

Plot Summary | Plot Synopsis

Taglines:

When it's after midnight in New York City, you don't have to look for love, laughter and trouble. They'll all find you! See more »


Certificate:

R | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

11 October 1985 (USA) See more »

Also Known As:

A Night in SoHo See more »

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Box Office

Budget:

$4,500,000 (estimated)

Opening Weekend USA:

$45,435, 15 September 1985

Gross USA:

$10,609,321

Cumulative Worldwide Gross:

$10,609,321
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Included among the American Film Institute's 2000 list of the 500 movies nominated for the Top 100 Funniest American Movies. See more »

Goofs

When Paul is talking to Julie outside the closed bar and Neil and Pepe drive by, it can be seen that Neil is driving and Pepe is in the passenger's seat. But then it's suddenly Pepe driving and Neil telling him to speed up. See more »

Quotes

[first lines]
Paul Hackett: [Paul and Lloyd in front of a computer terminal] Alright, punch. Punch it in.
Lloyd: Right.
Paul Hackett: Okay, let's, first of all, refresh the screen here. Alright, and go into "format ruler".
[Lloyd punches at the keyboard]
Paul Hackett: There.
Lloyd: All right. Now, file?
Paul Hackett: Right.
Lloyd: Right?
[presses a key]
[...]
See more »

Crazy Credits

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 »

Connections

Referenced in Sardonicast: Sardonicast #30: Climax, After Hours (2019) See more »

Soundtracks

Is That All There Is?
Composed by Jerry Leiber and Mike Stoller
Performed by Peggy Lee
Arranged by Randy Newman
Published by Leiber/Stoller Bienstock Publishing Company
Courtesy of Capitol Records
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Frequently Asked Questions

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User Reviews

 
Still Great After All These Years
17 September 2004 | by Mr Blue-4See all my reviews

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.


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