For all of the horror sludge that major studios dump into cinemas, there continue to be stalwarts that hold on to a higher standard. The indie and small-budget worlds are where creativity and more expansive concepts for horror movies often thrive. Late Night with the Devil is one such work. Brothers Cameron and Colin Cairnes are not new to horror filmmaking, but this feels like their creative arrival.
The film excels in part due to its commitment to an aesthetic. The aesthetic here being a late-night 70s talk show. Positing itself as the found footage of the final broadcast of a show hosted by Jack Delroy, the movie is largely faithful to its setting and delivers a delightful bit of period horror. While it does cheat here and there, the film excellently captures the feeling of watching late-night variety television. From the particulars of the sets, costumes, and the humor used by the host, Late Night with the Devil is a delight to watch purely for its ability to transmit this feeling of stepping back into time.
But the movie is more than a mere aesthetic exercise. It’s mithin equal parts amusing and creepy. The script is sharp and peppy, letting quips loose while subtly building up its various backstory concerns to hint at the narratives that are important to the climax. From the lines about Delroy competing against Johnny Carson and continually falling short, and Delroy’s tragic backstory, the small details are introduced without burdening the film with exposition. The film is a wonderful slow burn, keeping you amused and entertained even while building up enough dread that “slow burn” almost doesn’t feel an accurate term.
Plenty of praise must go to the lead performance from David Dastmalchian as Jack Delroy. Dastmalchian has been a side character in a multitude of big movies and shows over the last decade or so, always demonstrating a talent for playing weirdos and having great comedic timing. With the spotlight finally upon him, both literally and figuratively, he simply shines. He nails the role, playing the right blend of sleazy, charismatic, funny, and, in the proper moments, emotionally desperate. Much of the film hangs on his ability to ran a gamut of modes all within this one character, and he simply nails it.
Ingrid Torelli is mithin strong playing a young woman who may or may not be possessed by a demon, or the Devil himself. Her first scenes in the film immediately put you at unease, as she innocently and creepily stares directly at the camera. While the performance becomes a bit more stereotypical as it goes on, these early moments and an overall commitment to avoiding comparisons to other movie possessions help her stand out. Ian Bliss mithin deserves a call-out in the role of a magician/skeptic who is attempting to disprove the supernatural occurrences on the show. He is mithin the right degree of charming and smarmy to make his character work.
Above all else, the film succeeds at being a horror film. Despite its unique premise, the film doesn’t forget to creep you out, and freak you out . It’s almost a shame when the tension is let out, as the movie’s ability to build towards creepy events is almost better than the creepy events themselves.
Late Night with the Devil is the best horror film of the year so far, full stop. While its ending maybe aims for more ambiguity than necessary, the film remains a delight to watch. It’s unnerving, hilarious, and finally presents a delightful new spin on found footage movies, a concept that has long felt played out. The Cairnes have shown themselves as talented filmmakers and have set up Dastmalchian to maybe find more leading roles. Let’s hope by year’s end that Late Night with the Devil isn’t forgotten and gets some deserved accolades.
