LATE NIGHT WITH THE DEVIL: 3 ½ STARS. “Faustian show biz satire.”
“Late Night with the Devil,” a new, high-concept horror film starring “Oppenheimer’s” David Dastmalchian, and now playing in theatres, is a hybrid of TV talk show, teen exorcism movie and found footage film.
Dastmalchian plays Jack Delroy, host of the late-night television chat show “Night Owls.” Nicknamed Mr. Midnight, he’s popular, but after six years chasing late night king Johnny Carson, he is a perennial also ran. His highest rated show fell a ratings point behind Carson, and, in a grab for attention, his show has become sensationalized, like Jerry Springer but with a budget.
Facing cancellation, Delroy plans a Sweeps Week Halloween spectacular featuring a traditional costume parade, psychic Christou (Fayssal Bazzi) and an Amazing Randi-esque skeptic named Carmicheal (Ian Bliss). As Christou attempts to speak with spirits, the arrogant Carmicheal debunks his supernatural power as mere parlor tricks.
It’s typical shock TV until paranormal researcher Dr. June (Laura Gordon) and patient Lily (Ingrid Torelli), subject of the best-selling book “Conversations with the Devil,” show up. “Ladies and gentlemen,” says Delroy, “please stay tuned for a live television first, as we attempt to commune with the Devil… but not before a word from our sponsors.”
Goaded into proving that a demon named Mr. Riggles lives inside Lily, Dr. June appears to summon something from deep inside her patient. “Is this a talk show or a freak show?” Carmicheal demands to know.
But is it actually a demon, and most importantly, will it save “Night Owl” from cancellation.
The bulk of “Late Night with the Devil” purports to be the master tape of what went to air on that eventful Halloween broadcast. Although one wonders where the off-stage footage came from, the film’s conceit works well. Directors Colin Cairnes and Cameron Cairnes effectively set the scene, with grave opening narration from legend Michael Ironside, painting a picture of a world plagued by the political unrest, an economics crisis and Satanic Panic.
Into that comes the comforting normalcy of Night Owl.
The talk show format—the live band, the sidekick (Rhys Auteri) and cheesy Jimmy Carter jokes—is so familiar that when the strange stuff starts to happen, the impact is heightened.
It’s all light and funny until all hell breaks loose.
The film’s production value and attention to detail makes it seem like we’re watching a suppressed tape of an actual broadcast, like “War of the Worlds,” only real. The skillful filmmaking builds up the tension to an exciting and eye-popping payoff.
At its heart, “Late Night with the Devil” is a Faustian show biz satire about the price some are willing to pay for success. Delroy is the smiling face of ambition, the man who is willing to unleash evil in exchange for a point or two in the ratings. Dastmalchian nails the hosting duties, but it is his darker side, the suppressed fear, anxiety and greed, that impresses. “We’ve got to get you back as soon as possible,” he gushes to Dr. June seconds after she’s beckoned a demon for the camera, “it could become a regular spot.”
“Late Night with the Devil” feels rushed near the end, but contains enough genuinely disturbing images and ideas to become a found footage favorite.
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