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Managing editor & film and television critic with a Bachelor's of Arts in English Literature with a Writing Minor from the University of Guam. Currently in graduate school completing a Master's in English Literature.
After a few years of hefty supporting roles in films including The Suicide Squad, Dune: Part One, The Boogeyman, and Oppenheimer, American actor David Dastmalchian stars in the lead role of Cameron and Colin Cairnes’ supernatural horror film, Late Night with the Devil. I got to see the film for myself shortly before its streaming release on Shudder, and it impressed me as a fascinating observation of belief, grief, and the uncovering of the truth.
Late Night with the Devil is written, directed, and edited by the Cairnes.
IFC Films and Shudder’s Late Night with the Devil Synopsis
According to IFC Films and AMC Network Press, here is the logline for Late Night with the Devil.
October 31, 1977. Johnny Carson rival Jack Delroy hosts a syndicated late night talk show ‘Night Owls’ that has long been a trusted companion to insomniacs around the country. A year after the tragic death of Jack’s wife, ratings have plummeted. Desperate to turn his fortunes around, Jack plans a Halloween special like no other, unaware that he is about to unleash evil into the living rooms of America.
IFC Films and AMC Networks Press
Discussion
Late Night with the Devil is a somewhat riveting film in terms of horror storytelling. Sure, it did run into brief controversy over the rather innocuous use of AI imagery. Aside from that event, the Cairnes’ project works feasibly mainly in due part to how their narrative is told, production designer Otello Stolfo’s Night Owls talk show set piece, and David Dastmalchian’s performance of a renowned widower.
While the primary premise of this supernatural horror lies in Jack Delroy’s (Dastmalchian) interview with a young cult survivor, Lilly (Ingrid Torelli), the man’s talk show does not arrive at that point straightaway. The sibling directors build up to this in their first act or so. This first half-hour alone is creepy; the Skeleton Man (Steven Kwon) in the audience seems to be an ominous appearance, and it looks as if Christou’s (Fayssal Bazzi) and Gus McConnell’s (Rhys Auteri) heads would blow up during some portions in proper Scanners fashion.
Conversely, there does not appear to be a concrete act structure to how the series of events is conveyed. The Cairnes make use of every moment of the talk show through a segmentation that jumps back and forth between Delroy on-screen with his guests and the personality on commercial breaks. This is carefully denoted through color filters; the commercial breaks are shown in black-and-white, an interesting transition between on-screen portions considering America’s movement towards color television during the 1960s to ’80s. Black-and-white also plays as a bridge between reality and illusion, as it is in the hypnotic swirl.
Production Designs and Special Effects of Late Night with the Devil
Stolfo’s set piece of the Night Owls stage and audience space is naturally enticing. It plays well into the spoken idea of Halloween as a time for masks to be worn to hide from angry spirits. For Delroy, Night Owls is an outlet to avoid loss and grief. He has areas where he is seen by the public eye via audience and live cameras, and then there are areas where he can hide from scrutiny. On the surface, these stages appear normal, yet what is more important is just how certain interactions take place. The audience serves as supporting characters themselves, interacting with the host and his guests insofar that this doesn’t come off as a stageplay production.
Cinematographer Matthew Temple captures the trepidations of Late Night‘s characters, including Delroy’s believably true expressions of rue and sorrow. In this regard, special makeup effects artist Russell Sharp is fantastic with the homage to 1970s and ’80s body horror. This last half-hour or so of the film is disputably its greatest, offering thrilling sights to both Delroy and the viewers. The horrific imagery depicted here is definitely what one would expect from a title that is to be streamed on Shudder. Characters are either disemboweled or some gruesome act happens to their head or their whole body. In one split-second is a frame of Lilly possessed by the cult’s worshipped entity, which is surely a terrifying image for Delroy.
The Crew Behind Late Night with the Devil
Matthew Temple serves as the director of photography for the film.
Nicola Bell is the story stills photographer. Eve Dastmalchian and Sarah Enticknap are the additional stills photographers.
Leigh Pickford serves as the casting director. Fiona McMaster is the extras casting coordinator.
Otello Stolfo serves as the production designer for the film. Bob Hern is the art director.
Marie Princi is the hair & makeup designer. Russell Sharp serves as the special makeup effects artist.
Chris Anderson is the stunt coordinator. Clint Dodd and Zia Kelly are the assistant stunt coordinators.
Kate Angus is Laura Gordon’s stunt double.
Will Jones is Ian Bliss’s stunt double. Sam Desmond is Rhys Auteri’s stunt double.
The Cast of Late Night with the Devil
David Dastmalchian portrays Jack Delroy, the protagonist of the film and the host of a New York late-night talk show.
Laura Gordon portrays Dr. June Ross-Mitchell.
Ian Bliss plays Carmichael Haig. Fayssal Bazzi plays Christou, a Middle Eastern medium/ spiritualist/ miracle worker.
Ingrid Torelli portrays Lilly, a young subject of possession. Rhys Auteri portrays Gus McConnell, Jack’s “sidekick” on the talk show.
Georgina Haig plays Madeleine Piper, Jack’s late wife. Josh Quong Tart plays Leo Fiske, a producer on the talk show.
Steve Mouzakis plays Szandor D’Abo, the founder and leader of the First Church of Abraxas.
Paula Arundell, Tamala Shelton, Christopher Kirby, John Leary, and Gaby Seow play Diane, Carol, Phil, Barry, and Sammy, respectively. Elise Jansen plays a cavewoman.
Steven Kwon is credited as the Skeleton Man.
Performances and Character Developments
David Dastmalchian makes the role of Jack Delroy his own, given a condensed montage of background information in the film’s first few minutes. Delroy is said to have joined a men’s club at some point, but not much else is said about that. The implication of how this ties to Lilly is there, but it requires more clarification for viewers’ understanding. Dastmalchian masters the portrayal of talk show hosts so well down to the physical and vocal mannerisms. The actor is awe-inspiring as the character, who teeters between continuing the show for himself and letting it happen for those around him.
Torelli’s performance as Lilly is discomforting, and it is obvious that she is not in full control of her body. In comparison with Delroy, Lilly has a disturbing look about her, including the uneasy stares made directly at the television cameras. She is an uncertain face to have on stage, especially when she isn’t placed in restraints. The change in her expressions between demonic possession and innocent child is seamless, and the film proves that it works better when that has more screen time over the rest.
Final Thoughts on Late Night with the Devil
Overall, the Cairnes’ Late Night with the Devil is an entertaining film about the traditional darknesses of the human psyche. Subtextually, there is not much to say or a larger concrete message made. Still, this is purely a decent work of horror that could be tweaked up a bit more.
4/5 stars
Late Night with the Devil is now playing in theaters and will stream via Shudder next week, April 19th!
Have you caught the film in theaters yet? If so, then what are your thoughts on it so far? Let us know! For more found footage and horror-related news and reviews, follow The Cinema Spot on Facebook, Twitter, and Instagram!
Managing editor & film and television critic with a Bachelor's of Arts in English Literature with a Writing Minor from the University of Guam. Currently in graduate school completing a Master's in English Literature.
