*SPOILER ALERT*<br /><br />AFTER HOURS has typically been viewed as one of Martin Scorsese's minor films, but this excellent, frenetically-paced dark comedy works at a number of levels, while also – perhaps unintentionally – raising a few provocative questions. In a sense a VERY different sort of love letter to New York (if you get off on the raw, electric buzz of NYC, this film is for you), AFTER HOURS follows Paul (Griffin Dunne) through what begins as a spontaneous attempt at a date/hookup, and swiftly degenerates into one of the worst nights of his life. The uncomfortable outside scenes (constant drizzle) and the always claustrophobic interiors amplify the story perfectly, as Paul loses money, keys, is mistaken for a burglar and is ultimately chased through SoHo by a vigilante mob – AFTER HOURS is often hilarious, and relentless, with precious few moments of relaxation provided. <br /><br />The social ideology running through the film is provocative as well – and somewhat disturbing – as Paul (a rather wholesome looking yuppie) ends up being 'persecuted' by a series of casually weird performance artists, leather freaks, bikers, hippies, punks, gay people and psychologically unstable women – this self-contained enclave of bohemia en extremis is clearly a world that the wholesome-looking Paul is incapable of comprehending, and definitely doesn't belong in. The political implications of this reflexive anti-bohemianism is the lone flaw – problematic as this is otherwise one of the most immaculate 'dark' comedies you'll ever see, perhaps the least-known of Scorsese's many worthwhile films. <br /><br />Minor quibbles aside, this is a remarkable piece of work – the pacing is exhausting (Scorsese manages to very realistically reflect the sensory-overload rawness of New York), the ensemble cast is consistently (occasionally shockingly) great, and the use of music to advance the story (The Monkees, Joni Mitchell, Bad Brains and Peggy Lee all help to advance several great scenes) is also stunning. Terrific ending.