1990   USA After Dark My Sweet
After Dark My Sweet Image Cover
Additional Images
Director:James Foley
Studio:Live / Artisan
Writer:Jim Thompson, Robert Redlin, James Foley
IMDb Rating:6.5 (1,476 votes)
Genre:Crime, Drama, Mystery, Thriller
Duration:114 min
James Foley  ...  (Director)
Jim Thompson, Robert Redlin, James Foley  ...  (Writer)
Jason Patric  ...  Kevin 'kid' Collins
Rocky Giordani  ...  Bert
Rachel Ward  ...  Fay Anderson
Bruce Dern  ...  Garrett "Uncle Bud" Stoker
Tom Wagner  ...  Counterman
Mike Hagerty  ...  Truck Driver (as Michael G. Hagerty)
James E. Bowen Jr.  ...  Second Driver
George Dickerson  ...  Doc Goldman
Napoleon Walls  ...  Boxing Referee
Corey Carrier  ...  Jack
Jeanie Moore  ...  Nanny
James Cotton  ...  Charlie
Burke Byrnes  ...  Cop
Vincent Mazella Jr.  ...  Flashback Fighter (as Vince Mazzella Jr.)
Thomas Wagner  ...  
Mark Plummer  ...  Cinematographer
Summary: If you like the twisted, amoral characters that inhabit the world of pulp novelist Jim Thompson, you're going to love After Dark, My Sweet, one of the most faithful of many Thompson adaptations. Protagonist Kevin "Kid" Collins (Jason Patric), called "Collie" by those attracted to his shaggy dog side, escapes from a mental hospital and shuffles into a lonely desert town (and Patric really has the gait of a former pugilist down). Enter widow Fay Anderson (Rachel Ward), with legs that could stop a truck and a half-baked scheme to kidnap the scion of a rich family, which she's dreamed up with her unctuous and untrustworthy Uncle Bud (Bruce Dern), and it's the beginning of the end for the likable Kid.
After Dark, My Sweet is a film about judging people. No one is who they seem. Only by guessing their true intentions can Collins have a chance to survive. The film also has brilliant performances by the three leads, especially Dern, whose Uncle Bud is delightfully unhinged. Director James Foley (Glengarry Glen Ross, The Corruptor) is subtly adept at fleshing out the characters and their ambiguities, which solves the problem inherent in adapting Thompson's sleazy tales--namely, that much of the drama is internal, and therefore unfilmable). --Wayne Karrfalt

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