Late Night With the Devil (2024) - Movie Review
What do you get when a studio gives a visionary writer/director duo with an incredibly original concept and an incredible cast of underrated character actors?
Magic, honest to God Magic.
Let’s discuss.
I’ve got to be honest with you, my small but loyal readership—I lived my life up until the last few months as an undiagnosed bipolar. My drive and enjoyment of film and pretty much anything else in my life has waned. It’s been an incredibly rough 5 year stretch as my mental health unraveled. It’s been a struggle to do these reviews month in and month out, but I keep doing them, because I can see the traffic on the page and see that there are folks who do loyally read my ranting and raving. Thank you for that.
With that said, and my lack of enjoyment of almost everything in my life recently disclosed, it should make this next statement carry more weight.
Stop everything you are doing, grab a couple of friends, and go watch this movie immediately.
It’s one of the best movies I’ve seen in the last decade and I think it will be one of those rare movies that stands the test of time alongside the greats of the cult genre like The Sentinel, The Omen, and Rosemary’s Baby.
Yes, it’s that good.
Late Night With the Devil is a 2023 horror film from the writing/directing/brother duo of Colin and Cameron Cairnes. If you don’t know their names, that’s fine. I didn’t either, and I am immersed in the genre. Just know, if they don’t do anything else in the genre, they’d still find a way into the hall of fame with this gem.
The film focuses on the down, but not out late night host, Jack Delroy as he attempts to save his floundering and increasingly stereotypical late night talk show. He’s losing the battle for late night to Johnny Carson, His wife recently passed from cancer, and the executives at the network are ready to move-on. Jack’s attempted to push the limits of T.V. He’s tried every shocking thing he could to keep the show afloat, all except one. On this Halloween night, on this very special episode, Jack Delroy has a plan. He’s got a very special guest, something never seen on television before or since. There’s a reason for that. For Much like Robert Burns said long ago, “The best laid plans of mice and men often go awry.” A fact Jack Delroy is bound to learn when he comes face to face with a very special guest. Will Jack succeed in saving his show or will he end his run a has been, damned to reruns, wishing he’d skipped this Late Night With the Devil?
This movie is a homerun.
The film is shot in black and white anytime the network cameras aren’t running. This is an incredible technique to define the boundaries for the viewer. When the cameras go live and the color bleeds back into the edges of the screen, we know we’re watching a television show. Anything we see could be props or trickery. It’s when the color’s gone and we’re in the safety of the blacks and whites of the real world, that we get time to process what we’ve seen.
These black and white checkpoints also give us a measure of time’s movement in the film. This is a 93 minute movie that feels like a two and a half hour film.
And unlike shit smears like 2014’s It Follows, I mean this in a good way.
I didn’t want the film to end. It sucked me and my viewing partner into a vortex that never really ended until we both fell into a troubled sleep.
This wouldn’t have been possible without an anchor.
David Dastmalchian carries this film, yes, but he’s just the central pillar. Every single actor in this film reaches a level above the standard Hollywood acting performance. Dastmalchian turns in the performance of his career here, and hopefully this means we will see him up for more leading roles, because he’s obviously a star.
It helps that the rest of the cast is outstanding.
Laura Gordon and Ingrid Torrelli dominate the screen anytime they go live. Gordon is a prolific television actress who is always solid, but her performance here would earn her a pile of awards if horror was given the respect of other genres. She gives a powerful performance, given the low amount of screen-time she’s given, but it’s Torelli who steals the show. This kid is a powerhouse. Her performance is eerie, intimidating, and otherworldly—without being cheesy or overdone. When the two combine their talents, it’s electric.
It helps that the net of actors surrounding these three pillars also turn in career performances. I mean, Josh Quong Tart was so good, I thought he was a sexy Charles Fleischer. Ian Bliss, Fayssal Bazzi, and Rhys Auteri all go above and beyond their paycheck here. Auteri brings a heart to these proceedings, as of all the characters—he’s the most real. Which makes all that happens, so much worse.
Of course, I’d be remiss to not mention the voice of a generation—Michael Ironside. The pure human gravel of his voice brings us into this nightmare, and I wouldn’t have it any other way.
Then there’s the visual effects. The utilization of limited CGI mixed with visceral practical effects pays dividends. What I love about the effect used here, is that almost every single set piece is an homage to another classic film. I also love that all the visuals match the 1970’s aesthetic.
Which goes hand in hand with the brilliant costuming and set design. This film looks, feels, and sounds like it was shot on the same set as Match Game. And while the picture is much clearer, the crew did an incredible job of giving the film that unique 70’s feel.
Special shout-out to the cameo by the killer Irvin Wallace from Michael Soavi’s beautiful, if not overrated 1987 slasher, Stage Fright. If you know, you know.
All of this paired with the brilliant use of subliminal sound and old school audio trickery, and the gorgeous soundscape they create—makes this film undeniably good.
Please go watch this movie.
Support this movie.
I will be purchasing a Blu-ray as soon as possible.
Let me know if you want me to discuss spoilers…
…Because I really want to…
…but I also know folks were reading the spoilers before watching the movies and that’s just not cool.
Watch this free with your Shudder Subscription.
