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Reviews provided by RottenTomatoes
Chicago Tribune: After Hours is like one of those stories about a driver from out of town who takes the wrong turnoff on a big city expressway and winds up having an awful but memorable story to tell the folks back home... as long as he survives. Read more
Sheila Benson, Los Angeles Times: 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. Read more
Jay Boyar, Orlando Sentinel: 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. Read more
Vincent Canby, New York Times: After Hours is not, ultimately, a satisfying film, but it's often vigorously unsettling. In this season of homogenized pap, that should be read as praise. Read more
Dave Kehr, Chicago Reader: 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. Read more
Bill Goodykoontz, Arizona Republic: It's his most-un-Scorsese-like film, and it's an overlooked gem. Read more
Roger Ebert, Chicago Sun-Times: This is the work of a master filmmaker who controls his effects so skillfully that I was drained by this film. Read more
Richard Schickel, TIME Magazine: The result is a delirious and challenging comedy, a postmodern Ulysses in Nighttown. Read more