Name: Late Night with the Devil
Genre: Horror
Released: 2024-03-19T00:00:00+00:00
Cast: David Dastmalchian, Laura Gordon, Ian Bliss, Fayssal Bazzi, Ingrid Torelli

The moment Christou projectile vomits black liquid onto the studio floor of Night Owls, you know Cameron and Colin Cairnes’ Late Night with the Devil isn’t just another found-footage horror flick. It’s a deliberate, unsettling plunge into 1977’s occult obsession, wrapped in the veneer of a late-night talk show gone catastrophically awry.

The film’s premise is deceptively simple: a struggling late-night talk show host, Jack Delroy (David Dastmalchian), desperate to boost ratings, invites a possessed girl onto his Halloween episode. What unfolds over its 105-minute runtime is a masterclass in slow-burn horror, as the studio becomes a battleground for supernatural forces. The Cairnes brothers’ decision to frame the narrative as a documentary investigating the events adds an extra layer of authenticity, grounding the fantastical elements in a pseudo-realistic context. This framing device isn’t just window dressing; it allows for moments of genuine unease, like when we cut away from the “live” footage to see how different crew members reacted to the same event.

Dastmalchian’s performance is the heart of the film. Having cut his teeth in cult favorites like The Dark Knight and Ant-Man, he brings a layered charisma to Delroy, capturing the host’s charm and desperation with nuance. His moral descent isn’t signposted with broad strokes—it’s the way Dastmalchian makes Delroy’s smallest choices feel weighted that sells the transformation. Laura Gordon as June Ross-Mitchell provides a strong counterpoint, her skeptical parapsychologist persona lending credibility to the more outlandish elements. The chemistry between Dastmalchian and Gordon is particularly effective during their quieter moments, where the subtext of their professional (and potentially romantic) relationship simmers beneath the surface.

Ian Bliss as Carmichael Haig steals scenes with his cynical skepticism, embodying the archetype of the debunker with a smirk that never quite reaches his eyes. His confrontation with Christou (Fayssal Bazzi) is one of the film’s highlights, blending dark comedy and genuine tension. Bazzi’s performance is particularly noteworthy—his physicality during the possession sequence is unsettling without resorting to over-the-top theatrics. Ingrid Torelli as Lilly, the possessed girl, delivers a genuinely chilling performance. The way she shifts from innocent child to vessel for something ancient feels earned, not forced.

The film’s originality lies in its structure and setting. The talk show format allows for a unique blend of horror and comedy, with commercial breaks and technical glitches adding to the tension. The found-footage aesthetic feels earned, not gimmicky, thanks to the brothers’ meticulous attention to period detail—the grainy film stock, the vintage cameras, even the way light bounces off surfaces all contribute to an immersive 1977 atmosphere. The slow-burn pacing allows dread to build organically, much like The Babadook or It Follows. When Lilly finally levitates in her chair, the payoff feels monumental because we’ve been conditioned to expect something terrible through the film’s meticulous buildup.

However, Late Night with the Devil isn’t without its missteps. The film’s reliance on talk show conventions sometimes leads to pacing issues, with segments feeling stretched thin during the middle act. While the period detail is impressive, some of the occult lore—particularly the references to Abraxas and Szandor D’Abo—could have been woven in more subtly. There are moments where exposition feels heavy-handed, undercutting the film’s otherwise immersive atmosphere. Additionally, the resolution of the hypnotism demonstration falls a bit flat, undercutting the tension built earlier.

The film’s exploration of themes like media sensationalism, grief, and the occult taps into a rich vein of cultural anxiety, making it a timely watch despite its 1977 setting. The way Delroy exploits Lilly’s possession for ratings mirrors contemporary concerns about reality TV and the commodification of trauma. Meanwhile, the film’s meditation on grief—particularly through Delroy’s relationship with his late wife Madeleine—adds emotional depth to what could have been a purely procedural horror experience.

In terms of genre fit, Late Night with the Devil stands out as a unique entry in the found-footage subgenre. While it shares DNA with films like The Blair Witch Project and Paranormal Activity, its talk show setting and documentary framing set it apart. Fans of slow-burn horror will appreciate the film’s atmospheric tension, while those with an appreciation for retro aesthetics will enjoy the period details. The film’s international co-production status is evident in its polished presentation, though some cultural nuances might be lost on non-American audiences.

Comparing Late Night with the Devil to other recent horror films reveals both its strengths and weaknesses. Like Hereditary, it excels at creating tension through mundane settings and everyday characters, making the supernatural elements all the more chilling. However, where Hereditary commits fully to its grotesque imagery, Late Night with the Devil sometimes pulls its punches, leaving some of its most disturbing moments to our imagination.

Ultimately, Late Night with the Devil is a compelling, if flawed, entry into the horror genre. Its strengths lie in its performances, original structure, and atmospheric tension. The film’s exploration of media sensationalism and grief adds thematic weight to what could have been a purely procedural scarefest. While it may not reach the heights of The Witch or It Follows, it carves out its own niche with a unique blend of found-footage and talk show horror.

The film is for horror purists who appreciate atmospheric dread over jump scares, and for viewers who enjoy dissecting themes as much as they do shrieking at the screen.