After Hours (1985)
Country: US
Technical: col 97m
Director: Martin Scorsese
Cast: Griffin Dunne, Rosanna Arquette, Verna Bloom, Teri Garr, Linda Fiorentino
Synopsis:
After a hard day at the office a city worker experiences a succession of nightmarish encounters in and out of New York apartments.
Review:
Conducted at breakneck speed, this is a whistle-stop tour of social stereotypes, most of them unhinged; a satire of city life during the rapacious, money led Eighties, it sets up the hero (and by implication the viewer) as dumbfounded onlooker of various kinds of excessive behaviour, then leaves us with the suspicion that he is as much a part of the problem as the misfits his 'world' has produced. The non-sequitur dialogue is a constant source of delight.
Country: US
Technical: col 97m
Director: Martin Scorsese
Cast: Griffin Dunne, Rosanna Arquette, Verna Bloom, Teri Garr, Linda Fiorentino
Synopsis:
After a hard day at the office a city worker experiences a succession of nightmarish encounters in and out of New York apartments.
Review:
Conducted at breakneck speed, this is a whistle-stop tour of social stereotypes, most of them unhinged; a satire of city life during the rapacious, money led Eighties, it sets up the hero (and by implication the viewer) as dumbfounded onlooker of various kinds of excessive behaviour, then leaves us with the suspicion that he is as much a part of the problem as the misfits his 'world' has produced. The non-sequitur dialogue is a constant source of delight.
Country: US
Technical: col 97m
Director: Martin Scorsese
Cast: Griffin Dunne, Rosanna Arquette, Verna Bloom, Teri Garr, Linda Fiorentino
Synopsis:
After a hard day at the office a city worker experiences a succession of nightmarish encounters in and out of New York apartments.
Review:
Conducted at breakneck speed, this is a whistle-stop tour of social stereotypes, most of them unhinged; a satire of city life during the rapacious, money led Eighties, it sets up the hero (and by implication the viewer) as dumbfounded onlooker of various kinds of excessive behaviour, then leaves us with the suspicion that he is as much a part of the problem as the misfits his 'world' has produced. The non-sequitur dialogue is a constant source of delight.