laperlealex A great film, Scorcese is for me the best director of all time but we never hear of this film... We should because it's a film that even if your not a Scorcese fan, you would love it. It's entertaining all along.

bombersflyup After Hours is a terrific film, however it is a bit crazy just for the sake of it.Griffin Dunne is a very amusing comical lead and I especially liked Julie. The only let down for me is Rosanna Arquette and Linda Fiorentino's characters, they are just a bit too nuts and unappealing. Loved the ending, but I would of preferred if it had stopped with Paul in the plaster.

Kyle Perez When people mention great Scorsese films, I rarely hear "After Hours (1985)" come up as one of them. Following up The King of Comedy (1982), Scorsese created yet another offbeat story filled with tension and danger set against the juicy backdrop of New York street life in After Hours (1985). This film finds the perfect note in combing aspects of black comedy with a general sense of unease. Definitely NOT your typical Scorsese film.We've all had those bad nights; Maybe we missed that subway coming home from work or got showered with a puddle by that car driving by. But we'll forgive those nights after seeing what Paul Hackett endures - he's just your ordinary word processor and one night we find him reading his book in a Manhattan cafe. He meets Marcy, a seemingly normal girl who shows genuine interest in Paul. The two hit it off. Naturally. And Paul decides to see her later that night.Perhaps the first bad sign should have been the abnormally out of control cab ride he has. The cab flys so fast down the road that the only money Paul had on him for the night flys out the window. Little does he know of the series of problematic and life-threatening events that await him. We'll learn that he tries to escape but (in almost a perfect embodiment of 'Murphy's Law'), by one inexplicable happenstance after another, something will prevent him from doing so."After Hours (1985)" showcases Marty's true filmmaking skills - the beautiful tracking shots, the extreme close-ups, the dark and foreboding lighting; it's all there and brilliantly keeps the viewer in a state of paranoia and discontent. The story of Paul is like a Kafka-esque nightmare combined with the surrealism and peculiarity of a David Lynch film. A colourful array of characters, a strong visual style. And the perfect example of why Scorsese is one of the best living directors out there.

Edgar Allan Pooh . . . AFTER HOURS must have seemed like pure drivel. This tedious sequel to MEAN STREETS seems to drag on aimlessly for two or three times its length by the clock. If mentioned in the same breath with THE RAGING BULL or TAXI DRIVER, film students would bet their bottom wooden nickel that director Martin Scorsese had suffered a stroke or lobotomy (perhaps both!) prior to releasing AFTER HOURS. But it's said that Warner Bros. works in Mysterious Ways, and we now know that America's Extreme Early Warning System was actually focusing its far-sighted energies upon providing a cautionary AFTER HOURS tale for We Citizens of (The Then) Far Future. Serial woman-abusing snoop deadbeat "Paul Hackett" is NOT foretelling the upcoming misdeeds of Bill Cosby (too pale), Bill Clinton (too Northern), or Harvey Weinstein (too thin). No, it's clear that Manhattanite Paul--with his mangled hair-do, unwillingness to pay cab or subway fares, and misogynistic woman-hopping ways--represents none other than the Bane of Modern America, Manhattanite Don Juan Rump, as Rump was then, is now, and ever will be. The last third of AFTER HOURS is more of a personal warning to Master Rump himself, as a lynch mob of wised-up citizens pursues his stand-in Paul to deliver long overdue Justice!