Release Date
October 11, 1985
Martin Scorsese
Joseph Minion
Distributed By
Warner Bros. Pictures
$4.5 million
Comedy, Crime, Drama
Rated R
97 minutes

After Hours

Life is tough when you decide to step outside your routine. You end up losing 20 dollars out the window of a Formula 1 taxi driver‘s cab, being pegged as the local thief in a neighborhood you have never been to, sending a woman over the edge due to the fear of a body covered in burns, and being trapped in a life-sized paper mache creation by a lonely woman looking for affection, then being captured by Cheech & Chong.

Does all of this sound like a wild dream? Well it’s not. This is the plot of Martin Scorsese’s 1985 release, After Hours. Griffin Dunne plays Paul Hackett, a word processor bored with his monotonous life. To venture outside his monotony, he accepts an invitation to travel across town and spend the night with a woman he met that night in a coffee shop. From their, Paul faces the strangest chain of events in history. Griffin Dunne was a great choice for the lead and carries the film as well as he possibly can on his own, delivering pitch-perfect reactions and bewilderment.

After Hours is a personal disaster film, not to be confused with an actual disaster film like Twister or the Day After Tomorrow. Instead, After Hours displays the worst night of Paul Hackett’s life, where, one thing after another, Hackett’s world is turned upside down. Personal disaster films can be hard to allow the suspension of disbelief, because in no way could this actually happen in reality. After Hours suffers greatly from this. Not all personal disaster films suffer, however, while films like Superbad, Trojan Wars, and The Hangover were, for the most part, successful.

At this point, the film really only succeeds and showing a glimpse of current actors when they were much younger. Katherine O’Hara and John Heard show off their off-beat nature long before Home Alone. Will Patton shows up in dominatrix gear, while Cheech & Chong live up to their stoner personas. Had the cast been a bunch of nobodies, the film would have worked even less, but with their inclusion, there is a small glimpse of light, leading you through the tunnel that is After Hours.

After Hours was exciting and new for the time period it came from, probably setting the stage for the personal disaster films to follow, but in all regards, the film is ineffective today. Though Griffin Dunne carries on through his terrible night with dignity and a sense of adventure, the events that transpire do little to inspire an audience… or even at times make complete sense. The moral of the story is extremely difficult to attach yourself to, which insists that Paul Hackett never venture away from his normality, which is dismal and unrelatable. Martin Scorsese delivers gorgeous scenery, fully capturing the grit of the New York streets, but with a lackluster story and overblown performances stemming from the ridiculousness of the situations, After Hours fails to live up to the rest of Scorsese’s anthology.


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