After Hours
Martin Scorsese’s dark, postmodern comedy After Hours (1985) stars Griffin Dunne as computer programmer Paul Hackett, whose casual and nervous encounter with Rosanna Arquette leads him on a nightmare voyage through Soho’s dark and rainy streets. 
Like Dorothy in the Wizard of Oz, Hackett’s only thoughts are of finding an illusive and elusive way home “home”-- which in his case is back at work in his corporate office. On his journey through New York’s underground, where he encounters (but does not participate in) the libidinous world of drugs and sex, he will be tempted and tormented by an increasingly strange collection of women, from the trauma-inflicted Arquette to a sexually threatening sculptor played by 
Linda Fiorentino, from the obsessive, beehived, and potentially-castrating Teri Garr (who has access to a Xerox machine) to Catherine O’Hara (and her Mister Softee truck), and finally to the mysterious and maternal Verna Bloom, who lives in the basement of the Oz-like Club Berlin. Also features fantastic location shooting, mis-communication, repetition, an angry mob, and a cameo by Cheech and Chong. As a fantastic portrait of downtown in the early 1980s, After Hours is best viewed in conjunction with Downtown 81 or Permanent Vacation.
Martin Scorsese’s dark, postmodern comedy After Hours (1985) stars Griffin Dunne as computer programmer Paul Hackett, whose casual and nervous encounter with Rosanna Arquette leads him on a nightmare voyage through Soho’s dark and rainy streets. 
Like Dorothy in the Wizard of Oz, Hackett’s only thoughts are of finding an illusive and elusive way home “home”-- which in his case is back at work in his corporate office. On his journey through New York’s underground, where he encounters (but does not participate in) the libidinous world of drugs and sex, he will be tempted and tormented by an increasingly strange collection of women, from the trauma-inflicted Arquette to a sexually threatening sculptor played by 
Linda Fiorentino, from the obsessive, beehived, and potentially-castrating Teri Garr (who has access to a Xerox machine) to Catherine O’Hara (and her Mister Softee truck), and finally to the mysterious and maternal Verna Bloom, who lives in the basement of the Oz-like Club Berlin. Also features fantastic location shooting, mis-communication, repetition, an angry mob, and a cameo by Cheech and Chong. As a fantastic portrait of downtown in the early 1980s, After Hours is best viewed in conjunction with Downtown 81 or Permanent Vacation.
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