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Tarfumes.com - After Hours
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List Price: $19.98
Our Price: $12.95
Your Save: $ 7.03 ( 35% )
Availability: N/A
Manufacturer: Warner Home Video
Starring: Victor Argo, Rosanna Arquette, Larry Block, Verna Bloom, Tommy Chong
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Average Customer Rating:  
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Audience Rating: R (Restricted)
Binding: VHS Tape
EAN: 9786300270916
Format: Closed-captioned
ISBN: 6300270912
Label: Warner Home Video
Manufacturer: Warner Home Video
Number Of Items: 1
Publisher: Warner Home Video
Release Date: 1995-02-21
Running Time: 96
Studio: Warner Home Video
Theatrical Release Date: 1985-09-13
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Editorial Reviews:
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This well-regarded cult film is a tense Kafka-esque tale concerning what happens to a likable computer guy who is in the wrong place at the wrong time in the city that never sleeps--New York. This is a New York infested with bizarre characters vividly brought to life by a once-in-a-lifetime cast. Griffin Dunne's wonderfully controlled comic performance as Paul Hackett is the glue that holds this increasingly surreal film together. Scorsese utilizes a full array of independent and underground film techniques, including special film speed manipulations, angles, and edits, deftly capturing the strange rhythms of an after-hours New York City. Many will find the jokes clever, and occasionally laugh-out-loud funny. Some, however, will find the film an excruciating series of staged circumstances setting up a sadistically cruel dark nightmare of horrors. And there are a few lines of dialogue so poorly written they remind you how unbelievable the thin story really is. But forgive the film these few lapses--overall it's a wild, surreal ride. The most offbeat character is the beehive-sporting, Monkee-obsessed neurotic played to perfection by Teri Garr. And the moment when Griffin Dunne uses his last quarter to play Peggy Lee's "Is That All There Is" and dances with Verna Bloom while an angry mob searches SoHo for him is an inspired bit of lunacy. --Christopher J. Jarmick
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Spotlight customer reviews:
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Customer Rating:
Summary: I had a night like this..... I'm from Chicago
Comment: I must say this is one of my top 10 favorite films. Every time I have a bad day, I watch After Hours, and somehow feel better. Anyway, the reason Im writting this, is I was wondering if there is a music genius out there somewhere, who would know how I could get my hands on the music soundtrack used for this film. Even just the list of songs/artists. I've looked everywhere, and dont believe it exists. I would however be willing to buy each cd seperately and put my own collection together. Call me crazy, but I love the movie as well as the music. Any help is gretly appreciated! Signed, that crazy behive chick from Chicago.
Customer Rating:
Summary: You hope the night (and the movie) never ends
Comment: This film has been around for a while (decades), but this was my first viewing. Super!
A guy with a hum drum office job crosses paths with a strange chick in a late night cafe. He accepts a rendezvous invitation . . . and the night in SoHo (Manhatten) takes off. Bizarre people. Bizarre circumstances. A surreal package.
Well written and well executed. MUCH fun and I couldn't wait to see what would happen next. A "time check" is slipped into the story occasionally, and alas, dawn finally nears. Very different and very cool.
Customer Rating:
Summary: One of Martin Scorsese's BEST...
Comment: Martin Scorsese has, over time, given us so much. From his earliest days to present. Not that all his films were/are great, as were/are those of any other film directors of his era or any other. The difference here is that in this film, Scorsese tackles comedy, which went and generally goes against his overall filmmaker grain. This is his other main humorous masterpiece film, along with his black comedy "King of Comedy," which as much or more than equals "After Hours," but is much less black and nightmarish than this. When it comes down to it, unlike King of Comedy (full of a subtle, more nervous humor), After Hours, while consistently providing numerous moments of laugh out loud craziness, is more of a nightmare comedy than a black one. Especially upon repeated viewings. Because hidden within this broad comedy are simply tons of individual scene oddities and unforgettable moments. In short, this is King of Comedy gone Twilight Zone, but that's all a part of its charm and overall success. While nothing seen approaches unreasonable "yeah, right" suspensions of disbelief, through Griffin Dunne's portrayal of "Paul," a NYC word processor circa 80's green screen computer monitors, and pretty much a normal guy, the audience is from the first moments on, easily able to identify with him. And that's the secret of this film's brilliance.
One night, bored with switching cable stations, he ventures out into the NYC night rather late, and on a "school night" (he has to work the next day), and while reading a worn novel in a late-night diner, is introduced to an attractive girl (Rosanna Arquette), Marcie. It is a chance and strange meeting, but romance-hungry Paul eventually jumps at the chance to meet up with Marcie later in the "after hours" and soon finds his decision the beginning of a true comic-nightmare series of events, all unforseen.
Traveling down to the Soho district in the middle of the night, full of nuts like Teri Garr, Linda Fiorentino, among many others, for an everyman like Paul, his rash initial decision begins a series of more and more bizarre events and circumstances, and scene upon scene of absolute genius in their overall execution, timing, and meaning. Throughout the film, virtually every scene and shot seems to belong and there is absolutely no filler of any kind here.
One of the most common nightmares of common folk consist of "obstacles." Whereas one is trying to complete something, or get somewhere, or just end the at-times seemingly hopeless task at hand, to just wake up from the nightmare, back in your home, in your bed, and wake up. Trouble is, for Paul, his strange journey extends throughout almost the entire length of the film, which makes this a true existential and metaphysical classic.
What's so great about this film is how it slowly goes from the absurd and nightmarish step by step, until by the end, Paul's everyday nightmare of his job is his wake up call, and the film comes full circle. Full of memorable scenes and superb directorial touches, and lots of laughs, even if some may be just too close to home and reality to lay within the fully comfortable, "After Hours" is a movie that if you get into it within the first 20-30 minutes, you will stick with it till the end because the whole premise is just so edge-of-seat compelling. It is also unique in the history of all great films in that nearly every shot and scene is just about perfect.
Scorsese throws in the kitchen sink here and proves his directorial genius at every twist and turn, utilizing various creative insider moments throughout. Throughout, there is also a wonderful feeling of being stuck in some temporal hell, where some moments drag on and some are over in an instant. Just like any such "dream."
This is a film to be viewed again and again, if for no other reason than to break down and understand the broader and quite deep implications of what is constantly entertaining and even enlightening, for very different reasons. Paul (Griffin Dunne) is the center of the film, and the viewer's center as well, as we see the comic, nightmarish, series of improbable but very believable in a way happenings, through his perspective. But that is more than enough, given the multitude of strange characters and situations he finds himself in, when all he really just wanted to do was "maybe get out of his apartment for awhile, maybe meet a nice girl, and how he eventually seemed to have to DIE FOR IT???!!!" One of many highlight moments of simply a great film.
There are so many such moments, they are impossible to go into but another of my faves is Paul, in the middle of a NYC Soho neighborhood dark night "after hours" street, falling to his knees in a prayer to God with the line, "WHAT DO YOU WANT FROM ME, I'M JUST A WORD PROCESSOR!!!" Darkly, nervously, right on and laugh out loud funny. And look fast for Scorcese appearing ala-Hitchcock in the film as the guy shining the spotlights from above in the punk rock club scene, on Soho "Mohawk" night.
By all means, one of Scorsese's best, like his "King Of Comedy", not to be missed by any true black/nightmare comedy film fan from one of the greatest filmmakers of all time. If you like/love this, you'll love "King of Comedy" and vica versa.
Cheech and Chong's last major film as a team. Teri Garr and the rat trap surrounded bedroom. Surrender Dorothy! So many moments, so little time. A dark comic gem from beginning to end.
Customer Rating: 
Summary: Classy black comedy
Comment: A witty yuppy nightmare black comedy from Martin Scorsese - surely not, but its true. Griffin Dunne stars as Paul Hackett an office worker who is bored beyond belief. Look out for the mid 1980's computers, remember green text on black screens! Much later in the evening he meets a girl in a diner where he is drinking coffee and from there his night spirals out of control.
This is frequently funny and the cast are all good. Rossana Arquette, Linda Fiorentino and Teri Carr play the main female roles (although there are others) and they are the reason Griffin Dunne's character Paul loses control of his night out 'after hours'.
As you'd expect this is well directed by Scorsese and the only comedy he has made to date. Its a concise (93 mins) film that doesn't overstay its welcome. Sadly it doesn't seem to be available to buy separately at the moment, but it is part of the Martin Scorsese boxed set. At the right price this is worth getting.
Customer Rating:
Summary: Warning: Do not read "Tropic of Cancer" after hours in NYC!
Comment: What happens to others when our eyes close at night? Does a city really sleep, or are there adventures to be had even after the latest bar closes? New York City is one of those towns (if that word can be used) where a happy citizen could meet random strangers who are have equally fun nights, connect with hijinks throughout, and finally return back after this sed night to report around the water cooler with co-workers the next day. New York City - a hell of a town. When NYC turns its lights off at night; that is when famed director Martin (or Marty) Scorsese decides comedy would ensue. When "The Last Temptation of Christ" fell through, Marty needed a project to lift his spirits, make him laugh, bring back his respect for filmmaking, and put his dream project behind him for now - so he decided to jump headfirst into "After Hours". This is a small, probably unseen gem which demonstrates quite a bit of talent, some humorous moments, but mainly soul, rhythm, and excitement. "After Hours" was a surprise, because I think I had heard a joke about Scorsese and comedy, but he pulled this one through, providing classic cinematography, that darkened edge that was enjoyed in "Bringing out the Dead", and a solid character to lead us through the night. "After Hours" gave Marty the inspiration he needed to continue to make films, and it is a little gem he should never be afraid of.
This film takes place during the course of one night. As a series of unfortunate events happen to our lead, Griffin Dunne, we watch as he encounters bar keeps, ice cream truck drivers, papier-mâché bagels, 50s-style waitresses, Cheech and Chong, Mohawks, and finally an aging woman at a bar who also loves, you guessed it, papier-mâché. While it seems like the night comes full circle, the events that occur during the 97-minutes are pure entertainment as well as pure Scorsese. From an acting standpoint, only one character needed to be developed enough to enjoy. Dunne is reminiscent of a young Gene Wilder in this role with his passionate rants and witty retorts. Dunne is also easy to follow through this journey, as he is the quintessential "joe-shmoe" with the go-nowhere job looking for a night on the town. As he gets wet, hit, excited, and nervous, the audience can relate to him. He is perfect for this role, and his mannerisms fit with his character. Those surrounding Dunne also create their own "oddities" of the city. Rosanna Arquette is mesmerizing as a woman with potential burns and non-cohesive tendencies. We never know if she is the truth or instigator of this evening. Linda Fiorentino is decent, but John Heard punches in the laughter, as does Teri Garr and Catherine O'Hara. The cameo by Cheech and Chong may date this film, but it added to the inconsistent chaos that transformed "After Hours" from mediocre intertwined story, to independent cult classic.
Outside of the quirky characters that Scorsese has ideally placed throughout this film, the cinematography also is an element to enjoy with this film. Scorsese doesn't just sit back and film with generic stock footage; he uses his patented techniques to give us his own signature film. The scene with the keys was impressive (as well as added to the overall oddities of Dunne) as well as the scene near the end where Scorsese takes us around Dunne's office in a swooping visual treat. These are two to watch, but also look at the smaller moments. Scorsese proves in this film that he can handle singular shots as well as full-framed moments with hordes of people. His talent behind the camera isn't wasted or misused; he takes what could have been an average zany night out using Hollywood recycling, and transforms it into a Scorsese picture worthy of his repertoire. Let us not be mistaken, this is a Martin Scorsese picture, and one should not neglect it when mentioning the others in his award winning portfolio. Scorsese isn't known for his comedy style, but with both this and "Bringing out the Dead", he really creates his own type of comedy and dives headfirst into the darker element of the trade.
On a very small note, Scorsese's use of mythology is slight, but intensely focused in "After Hours". The fact that this entire evening happens with the dropping of a set of keys, the opening of a large gate, like a boy heading into manhood or to his first adventure is enjoyable. This film was the study of a man entering life, going from death (the working at a dead-end job) to a life full of adventure on the streets (perhaps not paying the river-man the right amount due to him driving too quickly and his $20 flying out the window), and finally back into death (the swooping final scene) is highly symbolical of the circle of life. Only Marty could give us this deeper meaning on a comedy. "After Hours" is a perfect pairing with "Bringing out the Dead" with its focuses on life versus death. A side note, but well worth mentioning.
Overall, this was a welcomed surprise. I wasn't familiar with Scorsese's "After Hours", but it was obviously his film with signature cinematography, apparent cameos, and dedicated characters. This feature has just as much heart, soul, and energy as any "Mean Streats", "Goodfellas", or "The Last Temptation of Christ", and honestly should be credited with giving Mr. Scorsese the inspiration to keep working. Without "After Hours", our cinematic theaters would never have known Christ's final thoughts. If you are looking for a comedy, a late night snack, or a great project for your final film class, this is the perfect film to use. It is often overlooked, but should be catapulted into cult classic status. It had everything from monumental lines (who can't laugh at the plaster of Paris cream cheese bagel?), amazing scenes, and characters that kept you glued to the screen. Watch it. I promise a great night out exploring the lonely streets of New York - that side we never see because it is ... "After Hours".
I know, laugh, but it was worth the corny, albeit cheap, shot.
Grade: **** ½ out of *****
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