Director:
Martin ScorseseGuión:
Joseph MinionCámara:
Michael BallhausMúsica:
Howard ShoreReparto:
Griffin Dunne, Rosanna Arquette, Linda Fiorentino, John Heard, Teri Garr, Catherine O'Hara, Cheech Marin, Tommy Chong, Verna Bloom, Dick Miller, Will Patton (más)Streaming (3)
Sinopsis(1)
El informático Paul está en la oficina neoyorquina donde trabaja, explicándole a un compañero cómo funciona el sistema, ante la completa indiferencia de éste. Tras finalizar su jornada de trabajo, Paul va a un bar para relajarse y tomar unas copas. En el local conoce a Marcy, una bella muchacha que le cuenta sus problemas y de la que, con la excusa de conseguir uno de los pisapapeles con forma de buñuelo que fabrica su compañera de piso, Paul consigue el número de teléfono de la chica. Por la noche, Paul la llama, y ella le dice que vaya a su casa, un apartamento, en el barrio del Soho, uno de los peores de Nueva York. Poco a poco, comprueba que Marcy no responde a sus expectativas y, además, las cosas se complican con el intento de suicidio de su compañera, por lo que Paul decide regresar a casa cuanto antes. (Movistar+)
(más)Reseñas (7)
El guion constantemente sorprendente, el ritmo rápido, el humor inteligente y en la primera mitad incluso una chispa sexy hacen de Jo, ¡qué noche! una referencia a Scorsese. A pesar de ser más ligera y divertida que la mayoría de su filmografía. La joven Rosanna Arquette es hermosa y la dirección magistral aprovecha al máximo cada escena saturada de material original. [KVIFF]
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Martin Scorsese y su viaje cinematográfico más salvaje. Una odisea loca de una noche en el infierno de un barrio de Nueva York, del cual no hay escape, que siempre me alegra, inquieta, tensa, asusta y calienta el corazón incluso al verlo varias veces. ¡Jo, qué noche! es un asunto de culto, que después de doce años desde la primera visualización pude disfrutar este año en Karlovy Vary en una gran pantalla, ¡donde simplemente encaja, sin lugar a dudas! [KVIFF 2024]
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When waking up late at night from the restless sleep of an office rat, Paul has to constantly tell himself that in a few days he will laugh about whatever bad things happen to him, but he can never be entirely sure about that. And thanks to Scorsese’s fondness for the dark corners of cities and of the human psyche, viewers can’t be too sure either. The unsteady transition from comedy to thriller and back is ensured by very steady directing and a well-written screenplay, sooner or later eliminating any doubts about the gratuitousness of any offshoot motif. Everything fits together beautifully, everything is interrelated and it all ends with an amazing office dance scene, an affirmation that, in this case, it was nothing grand, essential or groundbreaking. Just a bit of a filmmaking lark. With the highest level of craftsmanship. Appendix: Another item on the very long list of films that Timur Bekmambetov took inspiration from when putting Wanted together. 80%
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I’d love to spend a night like this. It would make for a great story :-D… This is the Scorsese’s film I’ve enjoyed the most.
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Scorsese is very high in my personal ranking of film directors, but this was the first case when I didn't gel with Martin's film. After Hours gives me the impression of an unfunny guy who, after a few drinks, tries to make an impression on a lady. He is annoying, without charisma, just awkwardly trying too hard, and he's simply a nuisance. The story drags and doesn't hold together at all, the screenwriter constantly tries to impress with new ideas, but the situations don't lead to a funny ending, and the characters (mostly having exaggerated and unrealistic personalities) come and go without their micro-stories being fulfilled in any way. Even the two stars I'm giving it are not convincing. Overall impression: 35%.
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(KVIFF 2024) I'm glad that film festivals are screening older movies alongside contemporary works. This allowed me to see Martin Scorsese's lesser-known After Hours. For an hour and a half we are passengers on a chillingly humorous carousel of absurdly bizarre events that revolve around Paul, a modern version of Kafka's Gregor Samsa or Josef K. Scorsese manages to wittily and briskly capture the travails of a man who was always in the wrong place at the wrong time and against whom the entire neighborhood conspired, whether it was hysterically lustful women or a "bloodthirsty" militia, among others. "Simply kafkaesque! Although, Kafka isn't simple at all."
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Martin Scorsese is another director that I like, but I have quite a few gaps when it comes to his work. I first met him in the film "Gangs of New York", then I saw the movies "The Aviator" and "Shutter Island" which convinced me that Leo is a great actor. I have yet to see "The Departed", but not "Hugo" and his great story. But his earlier work? In that regard, I really can't say anything, so I decided that I need to fix my Scorsese illiteracy. The film "After Hours" became my first textbook. More: http://www.filmovy-denik.cz/2013/02/po-zaviraci-dobe-1985-80.html
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