Late Night With the Devil is the best possession horror in years | SXSW review

A 70s late-night show goes awry when it invites a suspected possession case onto the show in Late Night With the Devil. Nothing like an exorcism to boost ratings.

Late Night with the Devil is one of the best exorcism horror movies in years. With keen 70s aesthetics, a dread-filled atmosphere and career-best performance by character actor David Dastmalchian, this found footage horror transmits its sinister airwaves through the screen resulting in a devilishly fun slow-burn romp.

Late Night With the Devil is in theaters now

Other than a 70s-era 20/20 cold open describing the events of Halloween night 1977 on the Night Owls with Jack Delroy show, Late Night With The Devil plays in real time over the course of the filming of the episode flipping between “actual” footage and behind-the-scenes content during the commercial breaks where we learn how the show is coming together — and falling apart. During his opening monologue, Jack assures the live studio audience along with his sidekick Gus (Rhys Auteri)that the night will be one to remember as they investigate the occult. This is the 70s after all and nothing like a little satanic panic to boost ratings.

Among his guests are renowned psychic Christou (Fayssal Bazzi), magician turned skeptic Carmichael (Ian Bliss), and parapsychologist Rose (Laura Gordon). However, the centerpiece of the whole episode is Lilly, a young teen recently rescued from a demon-worshipping cult with whom Rose has been working. Writer-directors Colin and Cameron Cairnes (real-life brothers) wanted to “[recreate] that slightly dangerous, live television atmosphere.” And from the moment Lilly enters the movie, the danger feels real. Despite the “found footage” presentation of the movie, the Cairnes find ways to communicate a dread-filled atmosphere on-screen. Most effectively, Lilly seems to always be staring straight into the camera — and into your soul.

As the night progresses, weird happenings plague the studio before culminating in a chilling exorcism setpiece that will send chills down your spine. However, much like Ti West's underrated The House of the Devil, the movie never overindulges. It keeps to its grounded 70s aesthetic and maintains a constantly uncomfortable slow burn as the night unfolds. It reminds me of how The Blair Witch Project approaches its found footage aspect with an eerily believable realism. The horror isn't what is on the screen, it's what's happening just off of it. The movie relies on the reactions of the characters to communicate the danger, which is why it's David Dastmalchian's performance that is the most impressive facet.

You might not know Dastmalchian's name, but you might recognize his face from some of your favorite movies. Perhaps as the creepy bank robber in The Dark Knight or the creepy kidnapping suspect in Prisoners or the creepy Polka-Dot Man in The Suicide Squad. In Late Night With The Devil he proves that he's one of the most exciting chameleonic character actors working today. His embodiment of an era-accurate late-night show host (think a 70s Conan O'Brien), while never losing sight of his character's past narrative is impressive to watch and key to the movie's ultimate success. Believing his motivations — and his own misguided hope that what's happening is real — sells the horror to the audience. While late-night hosts are meant to make their audience feel safe, Delroy's desperation makes us worried about what's coming next.

Late Night With the Devil like The House of the Devil and The Love Witch is an homage to the horror of the period while injecting modern cinematic sensibilities. The result is a spine-tingling and inventive found footage that grabs your attention and never lets go. But that's just TV, baby.

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Hey! I'm Karl. You can find me on Twitter here. I'm also a Tomatometer-approved critic.

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Karl Delossantos

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Hey, I'm Karl, founder and film critic at Smash Cut. I started Smash Cut in 2014 to share my love of movies and give a perspective I haven't yet seen represented. I'm also an editor at The New York Times, a Rotten Tomatoes-approved critic, and a member of the Online Film Critics Society.