Late-night talk shows, a quintessential part of American television, have been entertaining audiences with their formula of witty monologues, rotating guests, musical performances, and comical skits since the late 1940s. These shows intertwine their commentary with the ever-changing daily news cycle of politics and culture, creating an illusion of spontaneous conversation that evokes an intimate atmosphere for the ones at home who can’t sleep. Transporting us to the peak of late-night talk show popularity in the 1970s, Late Night With The Devil stars David Dastmalchian as the fictional late-night host Jack Delroy, who once reigned second only to Johnny Carson in the hit show ‘Night Owls.’ In a last attempt to boost ratings, he organizes a Halloween special, inviting a roster of spiritualists and skeptics as guests. The film twists familiar 1970s possession horror tropes, releasing a wicked and tantalizing pastiche.
Australian writer/director sibling duo Colin and Cameron Cairnes kickstart the film with a documentary-style opening. It effectively captures the era’s satanic panic while revealing the show’s history and its host, leading up to the fateful Halloween event. The transition to October 31, 1977, sees a shift in format, combining the broadcast with “newly discovered” behind-the-scenes footage from the commercial breaks. The Cairnes Brothers immerse us in the spirit of 1970s’ late-night television, seamlessly intertwining the familiar comedic spectacle and campiness. An on stage band plays Jack in and out, and his side-kick Gus (Rhys Auteri) plays along with the show’s various shenanigans.
The bustling energy of live production is also ingeniously utilized to heighten tension and dread. As the night progresses towards something far more sinister, Jack Delroy juggles ongoing production complications, relentless studio executive pressure, and the passionate guests. Amidst the mounting chaos, he strives to maintain a facade of control, not just for himself but also for those around him. For a moment, it nearly convinces us, the audience, as Jack and the various other elements briefly distract the film’s initial message of a horrible tragedy.
In his first leading role, Dastmalchian absolutely slays his portrayal of Jack Delroy. His persona of a charismatic on-screen host is pitch perfect, and his subtle performance of a man dealing with grief showcases so much depth and richness. There’s a palpable sense of desperation in his body language, apparent in every gesture or movement. When his star guests take the stage — satanic cult author June (Laura Gordon) and the allegedly possessed girl Lilly (Ingrid Torelli) — we witness Jack at his most sensitive, proving that he’s not a bad person, but someone haunted by the idea of being the best.
Late Night With The Devil moves at a bit of a slow pace, which isn’t particularly a negative, it feels as if you were watching the episode in real time. It invites viewers to indulge in its television recreation. The studio’s set design exudes an impressive 1970s aesthetic, boasting warm tones of orange, yellow, and brown. Complemented by fantastic costume design, complete with pointed collars and all, it’s a visual delight. The film’s fuzzy grain, analog sound, and occasional unsettling glitches layers the nostalgic experience while also foreshadowing what’s to come. Once the horror emerges, the imagery is both shocking and visceral. It’s remarkably impressive, especially considering that most of the scares rely on practical effects, it results in some of the most memorable moments in horror this year so far.
Late Night With The Devil is frightfully fun. The Cairnes Brothers balance the film’s horror elements with its documentary/found footage style, honing a 70s’ aesthetic in every aspect. The clever use of a live production environment, paired with Dastmalchian’s career-defining performance and a fierce finale, Late Night With The Devil undoubtedly establishes itself as a Halloween event well worth tuning into.
This review was written in 2023 after the SXSW Film Festival. Upon recent discoveries, it’s important to note that Film Cred and its members are against the use of generative AI in Film and TV.
