After Hours

Plot synopsis:
New York City. Paul Hackett (Griffin Dunn) is a lonely and bored computer word-processing consultant who wants more in his life than just going to work and going home every boring day of his life. One day involves teaching a new trainee, named Lloyd (Bronson Pinchot), the works of the computer. Paul leaves the office building when it closes at the end of the day and goes to his Upper East Side apartment on East 91st Street where he wastes the evening away watching TV and reading Arthur Miller books.Venturing out in search of carnal pleasures, Paul meets the sexy-but-quirky Marcy (Rosanna Arquette) in a coffee shop near his apartment building and begins chatting up a conversation with her. Paul asks for Marcy's phone number before she leaves and she tells him that he can call her anytime. Back at his apartment, Paul works up enough nerve to phone Marcy. She invites him to come down to SoHo where she is staying with Kiki, and artist friend of hers. The time is 11:32 p.m.Paul jumps into a taxi cab outside his apartment... and then the weirdness begins. The burly cab driver whisks Paul through the streets of New York at 80 mph as if being chased by the hounds of hell. During the wild ride, Paul loses a $20 bill, the only money he has on him when its whisked out the car window, and he is forced to stiff the driver. Paul finds the loft and meets Kiki (Linda Fiorentino) for the first time, who's wearing nothing but a black bra and leather miniskirt, working on a paper-maché sculpture that resembles painter Edvard Munch's 'The Scream'. Kiki forces Paul to help her work on the sculpture in which he stains his suit jacket and Kiki gives him another one to wear.Eventually, Marcy shows up and they go out to a nearby diner where they talk about their favorite movie which is The Wizard of Oz, among other things. When offered to pay the bill, the strange diner waiter (Dick Miller) tells Paul that it's on the house. ("Different rules apply when it gets this late, you know what I mean? It's like... after hours.")At 1:40 a.m., Marcy and Paul return to the loft, where she ushers Paul to her bedroom. Marcy prattles on about events in her tragic life, delivering her lines with a staccato rhythm punctuated by a nervous laugh. Marcy turns out to be a hyperactive mass of contradictions, and Paul decides that swaying her emotions are a bit too weird to handle. After smoking a joint of Marcy's which she claims it's from Columbia, Paul, for some reason, begins begins acting like a jerk and leaves.When he on the street, it begins raining, and he gets soaked walking a block to the nearest subway station. He picks out about 97 cents in change, all the money he has on him. But the attendant tells Paul that the subway fare for a token has just gone up to $1.50 that very midnight, and the time is now 2:15 am. Paul begs the attendant to give him a single token, but the attendant refuses saying, "I can't do that. Id loose my job." Paul looks around the station, sees no one and sarcastically states, "Well, who would know... exactly?" The attendant responds, "I could go to a party, get drunk, talk to someone... who knows?" When Paul threatens the attendant, a burly transit cop appears and scares Paul away.Paul runs through the rain and into a nearby bar, which is nearly empty, save for a bartender, a middle-aged waitress, and a teenage dancing couple. Paul sits at a table and asks the waitress Julie (Terri Garr) if he could just sit there for a while without buying anything. She agrees. After Paul uses the men's room, he returns to his table and finds a note sliped by the waitress which reads: "Help me! I hate this job!" Sensing that the weirdness is starting again, Paul asks the friendly bartender Tom (John Heard) if he can borrow money for a subway fare to get home. Tom is glad to help. But Tom cannot open the cash register. Tom asks Paul to go to his apartment a few blocks away to get the cash register keys as well as to check if the alarm is turned on because there have been a rash of burglaries in the neighborhood over the past several days. As a sign of trust, Paul leaves his apartment keys with Tom and rushes off with Tom's apartment keys to earn his $1.50. Paul lets himself into Tom's apartment, checks the alarm which is on. After using the toilet, it overflows, and Paul leaves. But on his way out, Paul gets hassled by two neighbors, a gay couple, who suspect that Paul is a burglar. Paul manages to get away from them.On the street, Paul spots two Hispanic men (Cheech Marin and Tommy Chong) trying to stuff Kiki's paper-maché sculpture into a van. Paul gives them chase, forcing them to drop the statue and drive off. Paul brings the statue back to Kiki's loft nearby and finds her gagged and tied to a pillar. He unties Kiki thinking that they robbed her, but she tells them that the men are Pepe and Neil, friends of hers who just bought the stature and that she's tied up because she and her boyfriend Horst (Will Patton) are playing a sex game. Kiki and Horst tell Paul that he should apologize to Marcy who has been in her bedroom crying since Paul left. Paul goes to Marcy's bedroom to apologize only to discover that Marcy has committed suicide by taking an overdose of sleeping pills. He runs to tell Kiki, but she and Horst have gone, leaving a note saying that they have gone to a nightclub.Paul sees a $20 bill left behind by them and instinctively takes it. Paul calls the police to report the body, and then dashes back to the bar so he can get his apartment keys back from Tom, but finds the place closed. Julie the waitress approaches him and invites him to her apartment just across the street to wait for Tom to show up.Julies apartment looks like a shrine to the mid-1960s replete with the music of the Monkees playing in the background. Paul soon discovers Julie to be even stranger than Marcy, for Julie has a shelf full with cans of Final Net hair spray and a dozen or more mousetraps around her bed. Julie asks Paul to let her draw a picture of him which he agrees.When Paul sees Tom coming back to reopen the bar, he makes a mad dash out of Julie's apartment and back to the bar. Tom tells Paul that he just left to check his apartment because it took so long for Paul to come back. Paul apologizes and gives Tom back his apartment keys. Just as Tom is about to hand over the $1.50, the phone rings and someone on the other line informs Tom that his girlfriend has just committed suicide. To his horror, Paul immediately learns that Marcy was Tom's girlfriend. Suddenly seized with the notion that Julie may follow in Marcy's suicidal footsteps, Paul leaves the bar and races back to Julie's apartment. She is fine, of course, and Paul, who desperately wants to get out of SoHo, makes a feeble excuse and leaves again.But when Paul retuns to the bar to get his apartment keys back from Tom, he finds the place closed again. Paul goes over to Tom's apartment, but he is not there either. Then the gay couple and another of Tom's neighbors see him and chase him away again. By this time, however, Tom's neighbors have become convinced that Paul is responsible for the rash of burglaries in SoHo and form together a vigilante group to hunt him down. But the real robbers are naturally Pepe and Neil, who are busy just blocks away ripping off another apartment right under everyone's nose.After going back to Kiki and Marcy's loft, Paul finds Marcy's dead body gone and yellow crime-scene tape over the entrance to the front door as the police apparently came and left with Marcy's body. Paul sees the small vigilante mob on the street armed with flashlights, baseball bats, and crowbars, and he knows they are looking for him. Paul waits until they pass by and leaves.Paul runs to Club Berlin, the nightclub where Kiki and Horst have gone, to inform them about Marcy's death. But after having trouble getting past the burly bouncer outside the club, Paul discovers that the place is a gathering of Mohawk-type punks who grab him and proceed to shave his head. Paul sees Kiki and Horst at a table and calls out to them, but they don't see or hear him through the loud music and crowd. Paul runs out of the club barely able to compose himself with only a line or two of his hair shaved off.Back on the street, Paul suddenly meets the same cab driver whom he was forced to stiff earlier for the ride. Paul gives the driver the $20 bill he took from Kiki's loft, but the driver just grabs the bill and drives off as payback for stiffing him. Paul by then has just run into another strange woman, coming out of the cab, named Gail (Catherine O'Hara) whom she feels sorry for and takes him back to her apartment.At Gail's apartment, Paul asks if he could use her phone so he can call a friend from his neighborhood for a ride. When Paul gets the number from information, Gail gleefully starts spouting out random numbers and Paul gets confused and forgets the number information has just given him. When Gail begins treating Paul's superficial wounds, she reads a newspaper article about a derelect found "beaten to death" the night before by an unknown mob as if she's facinated with the news. With mounting anger and frustration, Paul demands to the strange and hysterical Gail to leave him alone. Gail then blurts out that she drives a Mister Softee ice-cream truck nearby and will be glad to give him a ride home. But when they arrive at the truck parked in an alley, Gail spots a wanted poster of Paul (the same picture drawn by Julie) on a wall and uses a whistle to alert the vigilante mob which is numbering in the dozens. Paul is forced to run for his life. He gets away from the mob by running into an alley and hides atop a fire escape ladder. Then Paul witnesses a murder in the apartment just across from him where a woman shoots her abusive husband to death. "I'll probably get blamed for that too," says Paul mumbling to himself.Back on the street, Paul runs into a shy homosexual man, named Alex, (Robert Plunket) and allows himself to be "picked-up" to let himself into the man's apartment. Paul asks to use Alex's phone to call the police and then tries to tell the desk sergeant about wanting to report the vigilante mob that's been endangering his life. Unbelievably, the police officer on the other end of the line thinks that it's a prank call and hangs up on him. Frazzled, exhausted, and running on adrenaline, Paul launches into a frenzied monologe about the events of the night to Alex. Dissolve to 30 or more minutes later, Paul ends his story with the line: "I just wanted to leave my apartment, maybe meet a nice girl, and now I gotta die for it?!" Then Paul sees Julie on the street putting up wanted posters of him on a lamp post. Paul runs back out onto the street and calls out to her, but she just scornfully glances at him and rides off on a bicycle. Paul sees dozens of wanted posters of him on every street corner and begins tearing them off realizing that the insane Julie has set him up to get back at him for walking out on her.At 4:10 a.m., Paul goes back to the diner where he sees Tom sitting at a table. Tom tells Paul that he just got back from the local morgue where he was forced to identify Marcy's body. Paul demands that Tom give him back his apartment keys, but Tom says that he left them back at the bar. Frantic, Paul asks Tom to hide him for there is a vigilante mob looking for him. Tom goes outside to check if the coast is clear, but Paul sees Tom running right to up Gail and the vigilante mob passing by and he tells them where Paul is. Angered at Tom's betrayal, Paul runs out of the diner just in time.As a last resort, Paul dashes back to Club Berlin hoping to find Kiki and Horst there to ask them for help, but now finds the place deserted for it is closing since the time now is almost 5 a.m. The only patron there is a middle-aged woman, named June (Verna Bloom). Paul takes the quiet time to smoke a cigarette and use the last quarter he has on him to play a song on the nightclub's jukebox. June is very sympathetic to Paul and she senses right away that he's in trouble. Paul ask June if he's like to dance with her and have a casual slow dance. When Paul hears the sounds of Gail's ice-cream truck outside and the voices of the vigilante mob (now numbering in the hundreds) Paul asks June to hide him. June lives in a basement apartment below the club and she takes Paul to her home.When Gail and the vigilante mob break into Club Berlin looking for Paul, June, who also happens to be a paper-maché sculptress, hides Paul by dumping plaster all over him and making him a living sculpture just as the mob breaks into her apartment to look for their intended victim. Unable to find Paul, Gail and her group departs. Paul then begs June to stop encasing him in paper-maché, but she continues until he is covered from head-to-toe. When June leaves to see if the coast is all clear, the two robbers, Pepe and Neil, break into June's place from a sealed manhole to rob it. When they see the sculpture with Paul encased in it, they think he is the paper-mache sculpture they lost earlier that night and steal him. They load Paul in the back of their van now spilling over with dozens of stolen appliances from the SoHo apartments including Junes (Paul realizes that under these circumstances, he will probably get blamed for robbing June's place too).As dawn breaks, Paul sits helplessly in the back of the thieves van as it rides through Manhattan on its way uptown. At a street corner, the van hits a rather large pothole, the back doors fling open, Paul comes tumbling out into the street, and the hardened paper-maché casing breaks, freeing him. Paul then looks around and sees that he's standing..... right in front of his office building! A dazed Paul dusts himself off the best he can, and enters the building just as it's opening for business.In the final shot, Paul goes to the floor where he works, sits at his desk, and goes to work at his computer while the rest of the office workers arrive as the closing credits role. It's the beginning of just another boring weekday for him.

Tags: comedy, dark, murder, cult, absurd, psychedelic, queer

Review:
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.
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..
Martin Scorsese is a master of creating atmosphere and exploring a specific setting, and he has proved that in movies like Taxi Driver and Gangs of New York.
'After Hours' is a really dark, nightmarish comedy and is one of Martin Scorsese's most enjoyable films.
Such a dark, ironic and uncomfortably funny string of events plus a large helping of bizarre, paranoid and unpredictable characters have never before been forged into one story.The film follows Paul Hacket (Griffin Dunne) on a date from hell, where from square one it all goes horribly wrong.
"All I want to do is go home" he says, running for his life from an angry mob.The story isn't complex, which you may think could bore, but the characters are so delightfully wacky that you can't help but be transfixed.We've all had bad days when we've said "Phew!
Fortunately we don't get too many of them, like we would in a Tarantino film, however.Griffin Dunne plays Paul Hackett, who is bound and determined to hook up with Marcy (Rosanne Arquette) whom he met in a restaurant earlier that evening.
After Hours, originally a Columbia thesis script by Joseph Minion tells the story of Paul Hackett's crazy adventure in Soho.A friend described After Hours as a movie he always saw the cover for at the video store back in the day, and always thought it was a silly 80s comedy.
Luckless Griffin Dunne chances to meet cute flake Rosanna Arquette one night in New York City, but a follow-up date is fraught with calamities, and characters apparently just sprung from a nuthouse.
The attractive supporting performers (including Teri Garr, Linda Fiorentino, John Heard, Thomas Chong and Cheech Marin) are not used to balance out the craziness in the material with their star-personas; everyone on-screen is just a little bit battier than the ones who came before, and once you've become attuned to the movie's intentionally-bumpy rhythm (the cinematic equivalent of Bumper Cars), the rest of the picture can be a very funny lark.
I tried very hard to like "After Hours," Martin Scorsese's surrealist head trip about a straight-laced word processor (Griffin Dunne) who ventures off into the SoHo night and gets trapped inside a frustrating nightmare.
In spite of all the weirdness and troubles the main character goes through during one night, the movie itself is quite watchable thanks to Scorsese's magical skill of creating action and fun wherever possible and impossible.
Since it's a favorite of national critics, you know it's not a movie that most normal people are going to like.I watched this movie twice, and found it to be one of those films that is very interesting the first time around, but tiresome and almost stupid on the second look.
What Martin Scorsese does in "After Hours" is a humored, provoking and dark challenge where his main character, the word processor Paul Hackett (Griffin Dunne, great performance) is a guinea pig tested to the limit showing how difficult it is to be sane in a place that doesn't invite you to be mad, it violently grabs you to the madness in a endless night heading to the initial starting point.
This minor work from Scorsese made right after "The King of Comedy" and still using of some twisted humor of the earlier film is a small masterpiece where he, master of his art, takes everything he knows about movies and composes an energetic, pulsating, funny and bright film.
It perfectly matches in a non official trilogy I name of "New York time bomb trilogy", started in "Taxi Driver" (1976) and finishing with "Bringing Out the Dead" (1999), all stories taking place in NY, featuring characters living in the thin line between sanity and madness, just trying to get through the night.
All of the main characters, Hackett, Travis Bickle in "Taxi Driver" and Frank Pierce in "Bringing..." are all creatures of the night, dealing with lot of pressure on a edgy, wild city that looks like a time bomb just waiting to explode at any moment and they need to decide which way is gonna be, to succumb to it or survive in it, and they're all stuck in a stressful and tiring routine.
Take a look at how close those three films are, not just in their theme but also the way Scorsese edits, photographs, captures small things like the objects in scene, the camera movements, the music, each particular shot.
After Hours is not typical Scorsese fare and one reason it works is because of the legendary filmmaker's deft skills- the atmosphere is amazing as is the pacing of the film.
A Dark Comedy by Master Filmmaker Martin Scorsese, that offers shock value, some engaging moments, but, it's dark tone, will not attract everyone.'After Hours' Synopsis: An ordinary word processor has the worst night of his life after he agrees to visit a girl in Soho whom he met that evening at a coffee shop.This Dark-Comedy is meant for a certain audience.
Perfect flawless black comedy with humor as dark as the night that caught Paul Hacket (Griffin Dunne), a nice guy, an everyman, an ordinary computer operator in its darkness and surrounded him by all kinds of weird strangers who very well could be the deadly creatures of night that inhabited SOHO of early 1980s every night after hours...
It takes place in NYC, and its dark scary streets come directly from Scorsese's earlier masterpieces, "Mean Streets" (the streets after hours are even meaner, are they not?) and "Taxi Driver", the horrifying descend to the real Inferno.Amy Robinson, the film producer calls After Hours "dark, funny, paranoid New York summer movie" - and it says it all.
After their first work together on After Hours, Scorsese and Ballhause would make The Color of Money (1986), The Last Temptation of Christ (1988), Goodfellas (1990), Gangs of New York (2002), and The Departed (2006).The journey through the worst night ever by Paul brought to mind another surreal journey, one of my all time favorites, "O Lucky Man" by Lindsay Anderson.
Try not to lynch me for saying this but it looks like it was directed by someone who has just left film school ten minutes ago Along with BRINGING OUT THE DEAD this is Martin Scorsese's least impressive movie.
What if Martin Scorsese (Who is one of the greatest directors of all time in Mystery, Crime and Thriller genres) would like to grab some comedy stuff?The answer is After Hours, brilliant and disastrous story from beginning to end..A script based on misfortune, this is a movie which flows rapidly..I don't remember any other movie character except Paul Hackett (Griffin Dunne), who had to face so much trouble in such a short period of time.This is a excellent black-comedy stuff..Because the script's delirious fiction and mind-blowing influence, it's nearly impossible to notice the time passed watching it..This movie is one of Scorsese's most hilarious and unusual works in 80's along with The King Of Comedy..I recommend it to all the people who enjoy the dark sense of humor...
Other highlight are of course small parts by favorites like John Heard and Catherine O'Hara.After Hours is arguably the most underrated of Scorseses film (despite the high IMDb and Metascore ratings).
An ordinary word processor (Griffin Dunne) has the worst night of his life after he agrees to visit a girl (Rosanna Arquette) in Soho whom he met that evening at a coffee shop.At this point (2015), i think I have seen everything that Martin Scorsese directed.
"After Hours" is a 1985 American black comedy directed by Martin Scorsese (Goodfellas, Taxi Driver).A New York office worker has a very strange night when he goes on a late night date with a woman he just met, which turns into nightmare when one bizarre problem after another strands him in a hostile neighborhood in his quest to return home before morning."After Hours" is a brilliant film, its a perfect midnight movie, date movie, stoner movie, light movie, comedy-horror movie, quirky movie, but most of all its a fun movie.I think its also a very influential film.
I also found the dinner scenes with the main character's date to be similar to the dinner scene in Pulp Fiction, but maybe thats just me.Apart from comparing it to other movies, the performances are great, the story is unexpected, I loved that Cheech and Chong are in it and I also enjoyed Martin Scorsese's Alfred Hitchcock- like cameo in it.I believe this is a classic because a movie like this could not be made today, because of the technology that exists.
"After Hours" is a dark comedy by Scorsese which tells of a NYC yuppie (Dunne) who has an innocent date with a woman in her SoHo loft which begins a night full of weirdness and creepy encounters.
This underrated masterpiece is the very movie that got me addicted to independent films in the first place.The setting: mid-80's, pre-Rudolph Giulianni era New York City.The story introduces us to Paul Hackett (Griffin Dunne), who works in the daytime as a low-level, word processor.
By receiving Marcy's phone number, Paul sets off a series of strange and cataclysmic events that forever alter his night senses.The film has many great supporting actors such as John Heard as the late night bar keep, Catherine O' Hara as the riot monger, and Linda Fiorentino as Marcy's artsy, mysterious roommate.After Hours is a wonderful film from start to finish, and is a must see for die-hard Scorsese fans.
After Hours (1985) *** (out of 4)Scorsese's black comedy about a simple man (Griffin Dunne) who meets a woman (Rosanna Arquette) in a restaurant and goes to meet her again that night but this leads to one misadventure after another.
Directed by, of all people, Martin Scorcese, it's the story of a young word processor, Paul Hackett (Griffin Dunne) who decides to go to Soho one evening rather than sit in his New York City apartment.
Most of the humor in "After Hours" comes from the characters that inhabit this particular night, played by some wonderful performers - Roseanne Arquette as Marcy, a complete looney tune who is staying in the loft of a sculptor (Linda Fiorentino) into S&M; Terri Garr as Julie, a waitress stuck in the '60s who hits on Paul; John Heard as a bartender who offers to give Paul subway fare, but fate intervenes; Catherine O'Hara as Gail, who sells Mister Softee and then leads a vigilante group against Paul in her truck; and June, who shall we say, incorporates Paul into her work.
I didn't say it was his best, but for my time and money, I'd rather watch "After Hours" once a month for the rest of my life than anything else he's ever directed.Unlike "Taxi Driver", the vehicle for hire here inspires a ridiculous, yet strangely believable idiotic odyssey through darkest Manhattan, as Griffin Dunne (never better) is simply looking for a nice woman to spend a few hours with and ends up fighting for his damn fool life instead.
The reason this movie is dated is because in 1985 there weren't any ATM machines around in SOHO (as far as I can remember)--so Dunne's inability to get a couple of bucks would really not happen today, since SOHO is no longer the dark, seedy, yet trendy artists' hangout it used to be back in the time Scorsese made this flick:  there's a Swatch Shop, Club Monaco, Banana Republic, Zales Jewelers, Starbucks, and Chase bank all within a couple of blocks from the setting of this film!.
This is simply a story about a guy having the worst night of his life.Rating: 7.5/10Most Memorable Movie Moment: Griffin Dunne trying to make a phonecall at Catherine O'Hara's place..
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.
The essence of her sculpting and moulding skills are then eerily transfered into real life when she tries to persuade Paul to remove his shirt and aid her in using the gooey materials to help finish off the outer-shell of the figure.Despite the setting of the film being the dark, dreary and rather grimy streets of New York in the late hours of night and the early hours of the morning, its comedic tone and overall light attitude to the things that happen and the situations Paul finds himself in are not exploited in any way.
As he tries to find the money to take the subway home, he meets several interesting and sometimes very strange people.Dunne's character seems to be the only normal person in this film and that is one of the reasons why it works so well.
The first time I saw references to punk rock culture, first time I heard Peggy Lee's "Is that all there is?", and the first time I saw a movie so unpredictably charming and creepy, but that wasn't in a blood and guts horror genre, but was more like an urban nightmare for a working class hero.I remember hoping that Griffin Dunne's character would make it home in one piece.
I was fortunate to see a showing of "After Hours" this past year at the New Beverly Cinema and was just blown away by it.So, that in a nutshell, is why I like this film and can watch it again and again and it gets my nervous system all jumpy...but in a good way : ).
Oh sure, I could review a film that some of you have seen, but where's the fun in that?In Martin Scorsese's After Hours, you will find a dark ride into the fashionable Soho district of New York City of the mid-eighties that leads Paul Hackett into enemy territory.Once this average word-processing, white, single male realizes he's in over his head, he just wants to go home.
But it's not that easy for him.He tells little lies that get him deeper and deeper into trouble until he's literally running for his life from the crazed denizens of the night, to whom "After Hours" do not apply.This film is a personal favourite of mine, but I really don't blame anyone for not liking it.
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).
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.
I've often found Scorsese's films to be loaded with pacing problems and while the final half hour or so here does drag a little bit it wasn't nearly as what I usually experience with his work.The trim 97 minute running time flies by in a breeze, piloted by Griffin Dunne as a mild-mannered word processor who meets an attractive girl in a coffee shop (Rosanna Arquette, aptly matching that description) and experiences the worst night of his life when he goes to see her at her place.
Dunne's Paul Hackett falls down a descent into the madness of late night New York, the city which Scorsese earned his reputation depicting.The director took on this film after his first attempt at The Last Temptation of Christ fell apart and you can really tell that he just wanted to let loose and have some fun, a feeling that translates easily to the audience.
Griffin Dunne does a good job in this Scorsese flick about a man who goes on a date and ends up in a series of adventures that wont let him get home to sleep.
Call me an ignorant Scorsese fan, but i had never even heard the name of this movie, nor had i ever seen any Griffin Dunne's work before, until now.
I wince but also enjoy seeing Griffin Dunne, who seems like a live action Leisure Suit Larry, just fail and it's the great kind of movie where you watch really late on a Saturday night – explaining its cult status.
After Mean Streets and Taxi Driver, Martin Scorsese decides to explore another side of New York in this indie gem: everyman Paul Hackett (Griffin Dunne) meets a girl, Marcy (Rosanna Arquette), gets her number and hopes to spend a nice evening with her.
Part adventure-thriller, part black comedy, this film is without doubt the best-hidden gem of the respected director's storied career.Paul (Griffin Dunne) lives about as plain a life as one can live.
Griffin Dunne is fantastic as frantic Paul Hackett, who seems to stick out like a sore thumb when compared with the rest of the characters he meets on that horrendous night in downtown New York.
'After Hours', starring Griffin Dunne, is one of the best movies I have ever seen.
Whatever the reason Paul Hackett chooses to remain in his SoHo nightmare, it simply adds to the character's sense of helplessness and frustration.After Hours is a strange little film, being both pulse accelerating and hilarious at the same time.
I really like After Hours because of the story and the characters.Martin tell us about a very particular night in one's life.
I think "After Hours" is the best film of Martin Scorsese..