J.R. is a typical Italian-American on the streets of New York. When he gets involved with a local girl, he decides to get married and settle down, but when he learns that she was once raped... See full summary »
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
Included among the American Film Institute's 2000 list of the 500 movies nominated for the Top 100 Funniest American Movies. See more »
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 »
[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 »
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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