Listen On
A mild-mannered Manhattan word processor follows a woman he just met into SoHo and spends the night in an increasingly surreal spiral of missed connections, suspicious locals, and mounting catastrophe. Made between The King of Comedy and The Color of Money, After Hours is Scorsese at his most playful — a low-budget, high-speed black comedy that reads the city as a labyrinth designed to punish the ordinary. Kafkaesque and kinetic, it rewards closer attention than its screwball surface suggests.
A staff critic at RogerEbert.com and one of the most insightful voices writing about cinema today, Sheila O'Malley brings deep knowledge of Scorsese's career and a sharp eye for performance and mise-en-scène.
Spoiler-free context and starting points.