After Hours (1985)

The film is a brilliant, tense comedy that builds a nightmare situation step by step until laughter feels hollow or defensive. Scorsese controls effects masterfully as a master filmmaker examining Manhattan as a state of mind.

The critic views the film as a sharp black comedy that mines urban anxiety and paranoia for unsettling yet often hilarious effect, praising its propulsive visuals, razor-sharp editing, luminous cinematography, and sardonic treatment of existential themes drawn from Kafka, noir, and farce.

Scorsese turns urban fears into a hilarious, personal-size comedy with dazzling moviemaking and a pungently observed screenplay. Benson highlights the well-observed script by Joseph Minion and elegant contributions from the editor and production designer.

Scorsese conceived this brilliantly original yuppie nightmare with Griffin Dunne as the angst-ridden everyman in a spiralling tale of persecution. It's weird, wonderful and wildly funny.

The critic calls After Hours sneakily one of Scorsese’s best, a liberated and hyperkinetic black comedy that feels like a labour of love with caustic energy. They single out the surreal, demented streetlife encounters and the giddy camera style for praise.

Martin Scorsese’s 1985 screwball noir is viewed as an atypical but time-enhanced work whose comic elements have receded in favor of strangeness and anxiety. The critic singles out the film’s dreamlike quality, Kafkaesque coincidences, and wry final sequence for particular note.

Scorsese has become the chronicler of frustration in this comedy of a man trapped in purgatory-like circumstances. The first half excels in pixillated horror and dreamlike logic that turns everyday elements into haunting talismans.

Scorsese's screwball comedy is perhaps his most frightening picture as the protagonist sinks into mad emotions, but a tight script and tuned performances keep the laughs flowing. Only undercurrents of misogyny leave a sour taste.

The paranoia-and-persecution cinema reaches an apogee in this nightmarish black comedy that would be funnier if it did not confirm worst fears about urban life. The review notes vibrant supporting performances and easy identification with the reactive lead.

Scorsese directs with a knowing, hip air but the movie sags into a random series of events that fails to deliver as an entertaining trifle. Kael notes lively camerawork early on but criticizes the lack of substance and rooted moments beyond one standout performance.

The film is an entertaining but ultimately unsatisfying tease that disorients its protagonist through a series of arresting yet incoherent episodes. Canby praises the aggressive, willful cinematography by Michael Ballhaus as the standout element.

Scorsese's aptitude for comedy is too often overlooked, but nowhere is it more apparent than in After Hours. A wilfully surreal screenplay is handled with deadpan assurance, exploring tensions between New York's gritty landscapes and gentrification as Griffin Dunne's office drone ricochets through a night of thwarted escapes.