A new video posits both films happened the same night, and we believe it.
Perry’s Note: Today I’m handing over one of my time slots to Dutch filmmaker and all-round creative animal Peet Gelderblom, who in his latest video essay argues that Martin Scorsese’s cult classic After Hours and John Landis’ little-seen gem Into The Night are East Coast and West Coast chronicles of the very same night in 1985. Sounds off the wall? Well, off the wall is just another day at the office for Gelderblom, who earlier pitted Hitchcock against De Palma in a Split Screen Bloodbath; who put God in the same room with Satan in a mammoth mash-up compiled from two dozen movies; who made Kermit cry and Werner Herzog talk funny and whose fan edit of Raising Cain became a De Palma approved Director’s Cut.
Check out the video here, and Gelderblom’s written intro below:
https://medium.com...
Perry’s Note: Today I’m handing over one of my time slots to Dutch filmmaker and all-round creative animal Peet Gelderblom, who in his latest video essay argues that Martin Scorsese’s cult classic After Hours and John Landis’ little-seen gem Into The Night are East Coast and West Coast chronicles of the very same night in 1985. Sounds off the wall? Well, off the wall is just another day at the office for Gelderblom, who earlier pitted Hitchcock against De Palma in a Split Screen Bloodbath; who put God in the same room with Satan in a mammoth mash-up compiled from two dozen movies; who made Kermit cry and Werner Herzog talk funny and whose fan edit of Raising Cain became a De Palma approved Director’s Cut.
Check out the video here, and Gelderblom’s written intro below:
https://medium.com...
- 4/13/2017
- by H. Perry Horton
- FilmSchoolRejects.com
© Paul Hackett/Reuters/Corbis
Jj Abrams – love him or hate him – is a reliable, talented director with a penchant for franchise films. He was the best choice for the re-entry into the Star Wars saga, having proved his worth with that other Star-related franchise. His ability to at least begin a franchise is well-noted, and he’s got a knack for set-up – not to mention a good handle on what makes iconic characters tick.
Concise plotting and a fast-moving pace help make his films accessible and have marked him as a natural when it comes to blockbuster filmmaking.
Since his feature film directorial debut with Mission: Impossible III back in 2006, the man has frustrated as many moviegoers as he has impressed – his propensity for lens flare is well-documented (and mocked, in some circles), but his innate ability to construct a fantastic action sequence tends to outweigh that quibble, as much...
Jj Abrams – love him or hate him – is a reliable, talented director with a penchant for franchise films. He was the best choice for the re-entry into the Star Wars saga, having proved his worth with that other Star-related franchise. His ability to at least begin a franchise is well-noted, and he’s got a knack for set-up – not to mention a good handle on what makes iconic characters tick.
Concise plotting and a fast-moving pace help make his films accessible and have marked him as a natural when it comes to blockbuster filmmaking.
Since his feature film directorial debut with Mission: Impossible III back in 2006, the man has frustrated as many moviegoers as he has impressed – his propensity for lens flare is well-documented (and mocked, in some circles), but his innate ability to construct a fantastic action sequence tends to outweigh that quibble, as much...
- 1/1/2016
- by Dan Woburn
- Obsessed with Film
“I said I wanna see a Plaster of Paris bagel and cream cheese paperweight, now cough it up!”
After Hours screens midnights this weekend (September 25th and 26th) at The Moolah Theater (3821 Lindell Blvd, St. Louis, Mo). Admission is only $5. Come early for great drink specials, cool trivia with even cooler prizes, and a free comedy set by the ‘MooHaa at the Moolah’ Comedians!
Getting home from a hard day’s work should be simple. For Paul Hackett, it’s a night he’ll never forget. In Martin Scorsese’s After Hours (1985) Griffin Dunne played Paul, an average Joe who gets to know too well the term ‘late night’. He works as word processor for a big computer company. He meets a lovely young woman named Marcy (Roseanna Arquette) at a coffee shop who wants to hook up later on. Unfortunately, the night doesn’t go the way he wanted to be.
After Hours screens midnights this weekend (September 25th and 26th) at The Moolah Theater (3821 Lindell Blvd, St. Louis, Mo). Admission is only $5. Come early for great drink specials, cool trivia with even cooler prizes, and a free comedy set by the ‘MooHaa at the Moolah’ Comedians!
Getting home from a hard day’s work should be simple. For Paul Hackett, it’s a night he’ll never forget. In Martin Scorsese’s After Hours (1985) Griffin Dunne played Paul, an average Joe who gets to know too well the term ‘late night’. He works as word processor for a big computer company. He meets a lovely young woman named Marcy (Roseanna Arquette) at a coffee shop who wants to hook up later on. Unfortunately, the night doesn’t go the way he wanted to be.
- 9/23/2015
- by Tom Stockman
- WeAreMovieGeeks.com
When you have at least three hall-of-fame works in your filmography —“Taxi Driver,” “Raging Bull” and “Goodfellas”— some of your other films are bound to be overlooked. Don’t weep for Martin Scorsese just yet, since the folks over at No Film School have found a snappy and slick video essay focused on one of Scorsese’s more obscure films. Released in 1985, written by Joseph Minion and starring Griffin Dunne, “After Hours” follows Paul Hackett as he has one of the worst nights had by anyone ever. The film is an absolute delight, Steven Soderbergh is an unabashed fan, and it's incredibly still not on blu-ray, though you can buy an HD version from Amazon or Vudu. Ahead of the film’s 30th anniversary next year, Adrian Martin and Cristina Alvarez Lopez created a breezy nearly-four-minute video essay on the film for Mubi Notebook. As we collectively wait until Warner...
- 12/2/2014
- by Cain Rodriguez
- The Playlist
Hollywood has always had a peculiar way of treating its artists. Usually after celebrating an initial spark of genius, the studios, media, or loyal fans often watch the once promising talent fizzle out with a bang, or more times, with a quiet whimper. Either way, it remains a difficult feat to stay relevant in Hollywood. Martin Scorsese is an example of the rare filmmaker who has been working for over forty years and continues to challenge himself while keeping audiences on their toes.
Martin Scorsese on the set of “Gangs of New York.”
Photo by Mario Tursi – © 2002
Miramax Films – All Rights Reserved.
Over the past ten years Scorsese has released five films, four of which have gone on to be big Oscar contenders (Gangs of New York, The Aviator, The Departed, and Hugo). This year marks the release of his latest Oscar hopeful, The Wolf of Wall Street. After Scorsese...
Martin Scorsese on the set of “Gangs of New York.”
Photo by Mario Tursi – © 2002
Miramax Films – All Rights Reserved.
Over the past ten years Scorsese has released five films, four of which have gone on to be big Oscar contenders (Gangs of New York, The Aviator, The Departed, and Hugo). This year marks the release of his latest Oscar hopeful, The Wolf of Wall Street. After Scorsese...
- 12/11/2013
- by Matt Santia
- CinemaNerdz
There have been some great days in films. Some truly inspiring, wonderful days that we rejoice over, as we watch on as our favourite characters revel in the beautiful perfection of a glorious day. Conversely, there have been some terrible days. Horrid, destructive and upsetting days – that cause our protagonists anguish and distress and with The Purge coming out this week we thought it might be a good idea to look at some of the ‘Best Worst Days in Cinema’!
We’re counting down days that can be as emotionally disquieting as they can comedic or enjoyable. Either way, if our characters are having a bad time of it, then that’s good enough for us.
10 – After Hours (1985)
You know that sinking feeling you get when you put your hands in your pocket to pull out some cash, only to discover you’ve lost it, or clumsily misplaced it somewhere?...
We’re counting down days that can be as emotionally disquieting as they can comedic or enjoyable. Either way, if our characters are having a bad time of it, then that’s good enough for us.
10 – After Hours (1985)
You know that sinking feeling you get when you put your hands in your pocket to pull out some cash, only to discover you’ve lost it, or clumsily misplaced it somewhere?...
- 10/30/2013
- by Stefan Pape
- HeyUGuys.co.uk
Pictured: Acting.
What Is a horror film? The genre is often ghettoized, associated with the lowest common denominator of films and filmmakers. The popular critical perception of horror is one of mindless gore, of endless shots of nubile, nude women being cut to screaming pieces, of stilted acting and cheap cameras, and of audiences who seek only fresh carnage in lieu of actual stories and themes.
This is a load of crap. In fact, horror is perhaps the single most elastic genre in film, or any medium. There is no limit to the things that scare us, and endless ways to represent those fears in a visual medium. Horror can explore our deep-rooted fears of both the internal and external worlds with an immediacy and intimacy that other genres simply can’t.
What follows is a list of films that explore the darkest aspects of humanity and the human experience; films that discomfort and horrify,...
What Is a horror film? The genre is often ghettoized, associated with the lowest common denominator of films and filmmakers. The popular critical perception of horror is one of mindless gore, of endless shots of nubile, nude women being cut to screaming pieces, of stilted acting and cheap cameras, and of audiences who seek only fresh carnage in lieu of actual stories and themes.
This is a load of crap. In fact, horror is perhaps the single most elastic genre in film, or any medium. There is no limit to the things that scare us, and endless ways to represent those fears in a visual medium. Horror can explore our deep-rooted fears of both the internal and external worlds with an immediacy and intimacy that other genres simply can’t.
What follows is a list of films that explore the darkest aspects of humanity and the human experience; films that discomfort and horrify,...
- 9/28/2012
- by Brendan Foley
- Obsessed with Film
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