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After Hours (1985)
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CREATORS OF "After Hours (1985)"
After Hours (1985)
CRITICS OF "After Hours (1985)"
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The Sunday Age
Resource

July 05, 2016

The film is riddled with cryptic mysteries, not to mention Cheech and Chong, and it plays as an urbane older brother to David Lynch's psychosexual masterpiece Blue Velvet.
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Arizona Republic
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March 18, 2015

It's his most-un-Scorsese-like film, and it's an overlooked gem.
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TIME Magazine
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January 25, 2010

The result is a delirious and challenging comedy, a postmodern Ulysses in Nighttown.
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Los Angeles Times
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March 18, 2015

After Hours is dazzling movie making; you could get a giddy kick just from cinematographer Michael Ballhaus' shot as a set of house keys floats down toward the camera, tossed from a top-floor apartment.
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Variety
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March 31, 2008

Anxiety-ridden picture would have been pretty funny if it didn't play like a confirmation of everyone's worst fears about contemporary urban life.
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South Florida Sun-Sentinel
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March 18, 2015

One of the best self-conscious black comedies to come along in a long time, Martin Scorsese`s After Hours is a film that delivers humor and anxiety like a smack in the face with an amphetamine pie.
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Radio Times
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March 18, 2015

It's weird, wonderful and wildly funny.
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Christian Science Monitor
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March 18, 2015

The more bizarre and frantic the material, the more I felt the strength and sureness of Scorsese's directorial hand, taming the screenplay's goblins and rendering them harmless.
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Suite101.com
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October 02, 2015

As absurdist angst-ridden comedy, "After Hours" isn't flawless. As Martin Scorsese's way of using art to cathartically shake off bugaboos, exorcise demons and bounce back stronger after major dream-project setbacks, it's its own sort of masterpiece.
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People Magazine
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March 18, 2015

It's not that they don't make comedies like After Hours anymore. The fact is there's never been a comedy quite like this one.
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Orlando Sentinel
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March 18, 2015

Like many of Scorsese's earlier pictures, After Hours has a fascination with the bizarre. But the new film is lighter in spirit than any Scorsese film, with the possible exception of Alice Doesn't Live Here Anymore.
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Chicago Reader
Resource

March 31, 2008

Scorsese's orchestration of thematic development, narrative structure, and visual style is stunning in its detail and fullness; this 1985 feature reestablished him as one of the very few contemporary masters of filmmaking.
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