Film
After Hours
After Hours is Scorsese's tightest, funniest fever dream — one Manhattan office drone's disastrous quest to get home from SoHo spirals into farce, paranoia and near-catastrophe. It's tense and hilarious in equal measure, shot with the same nervy dread as his crime pictures despite the punchlines. For anyone who's had one bad night snowball absurdly out of control, or wants Scorsese at his most nimble and least self-serious.
If you liked this
Good Time2017
Same big-city, single-night unraveling of a man whose every attempt to fix things makes them worse, wired with electronic dread and Robert Pattinson at his most feral.
But The nervous-system-jangling score and constant crisis mode make it exhausting rather than funny — laughs are scarce.

Uncut Gems2019
Same downtown-Manhattan claustrophobia and mounting catastrophe, but swap Paul's mild-mannered dread for Adam Sandler's compulsive, self-sabotaging hustle.
But Nearly two hours of unbroken tension with barely a comic release valve; it's a stress test more than a caper.

Miracle Mile1989no page yet
A stranger's one night in LA spirals from a wrong phone call into apocalyptic panic, mixing deadpan comedy with real dread exactly like After Hours does with its own city.
But Obscure enough that its tonal swings — rom-com to disaster movie — can feel like two different films stitched together.
The wildcard
Something you would not have found on your own.
In Fabric2018no page yet
Same structural engine as After Hours: a mundane object drags an ordinary person into an escalating, illogical nightmare they can't wake from — just reskinned as arch horror instead of comedy.
Peter Strickland's giallo-soaked, deadpan horror about a haunted red dress turns consumerism itself into a surreal trap, with the same the-world-has-turned-against-me comic dread as Scorsese's film, just colder and stranger.
But Its glacial pacing and heavy stylisation — ritualistic dialogue, endless repetition — will read as pretentious rather than eerie to some.
More like this (8)
Something Wild1986
A buttoned-up man is dragged out of his routine by an unpredictable woman into a wild, dangerous day — the sunlit flip side of Paul's nocturnal ordeal.
But Starts as breezy screwball before curdling into genuine menace; the tonal U-turn isn't for everyone.

Into the Night1985no page yet
An insomniac office drone gets pulled into a chaotic overnight odyssey through a city's underworld — practically the West Coast cousin of Paul's SoHo nightmare, from the same year.
But Less disciplined than Scorsese's film; it sprawls into star-cameo indulgence rather than tightening the screws.
Bringing Out the Dead1999no page yet
Scorsese returns to New York at night, this time through a burned-out paramedic, for the same jittery, hallucinatory, can't-escape-the-city feeling with higher stakes.
But Grimmer and more exhausted in spirit — the humor here is pitch-black, not farcical.
Collateral2004
One long, increasingly dangerous night behind the wheel of someone else's plans, with a city — LA this time — rendered as a neon-lit trap you can't drive out of.
But Plays it as a taut thriller rather than a comedy — you'll be gripping the armrest, not laughing.

Adventures in Babysitting1987no page yet
The PG-rated cousin — a suburban night out goes sideways downtown in a chain of escalating misadventures, keeping the farce but losing the menace.
But Aimed squarely at teenagers; the stakes are cartoonish where After Hours keeps real dread humming underneath.
Cheap Thrills2013no page yet
Strangers, a bar, and a series of dares that spiral past the point of no return — a nastier, lower-budget descendant of the same how-did-my-night-get-this-bad comic dread.
But Trades Scorsese's control and craft for grindhouse shock value; it's meaner and much rougher around the edges.
Céline and Julie Go Boating1974no page yet
Another film about people tumbling through a labyrinthine, rule-bending version of their own city at night, where reality keeps glitching — the same dream logic, played as delighted play instead of panic.
A three-hour French New Wave fever dream where two women swap identities and slip in and out of a haunted house's looping story — playful, funny, and unlike anything else.
But Long, shaggy, and deliberately confusing about what's real; patience is required and rewarded slowly.
The Trial1962
Adapts Kafka directly: the same ordinary man caught in a nonsensical, hostile system punishing him for reasons he can never grasp, stripped of every joke.
Welles's shadow-drenched vision of Kafka's novel is the dead-serious ancestor of Paul Hackett's night — bureaucratic dread rendered as gothic nightmare, decades before Scorsese made it funny.
But Cold, alienating, and genuinely bleak by design — there's no comic release, just mounting dread until the end.

People
Cast
Griffin DunnePaul Hackett
Rosanna ArquetteMarcy
Verna BloomJune
Tommy ChongPepe
Linda FiorentinoKiki
Teri GarrJulie
John HeardTom the Bartender
Cheech MarinNeil
Catherine O'HaraGail
Dick MillerWaiter
Will PattonHorst
Robert PlunketStreet Pickup
Directing
- Martin ScorseseDirector
- Stephen LimFirst Assistant Director
- Mary A. KellyScript Supervisor
- Christopher GriffinSecond Assistant Director
- Sarah M. BrimSecond Assistant Director
Writing
- Joseph MinionWriter
Production
- Deborah SchindlerAssociate Producer
- Mary ColquhounCasting
- Gary WeinerLocation Manager
- Amy RobinsonProducer
- Griffin DunneProducer
- Robert F. ColesberryProducer
- Nellie NugielProduction Executive
- Michael NozikProduction Manager
Recommended by
Game Night, Something Wild, Date Night, Good Time, Odd Man Out, The Hangover, New York Stories