Late Night With The Devil arrives with one of the most exciting horror concepts in recent years. A live television broadcast in the 1970s going horrifically wrong, layered with themes of fame, deception, and the public’s obsession with spectacle. It plays with the idea of the devil hiding in plain sight, not in the shadows, but on stage, under bright lights, in front of millions. It is a clever idea that feels fresh and instantly engaging.

At its best, the film critiques the parasitic nature of media and the spiritual emptiness of those who chase relevance at any cost. There is a fascinating subtext about the commodification of the supernatural, and how the most disturbing truths are often repackaged as entertainment. Unfortunately, these ideas never quite evolve. The film flirts with meaning, but never fully commits to exploring its thematic potential. What starts as a smart, original premise fizzles into a messy display of genre tropes that abandon all nuance in the final act.

Performances

David Dastmalchian, who is really building a solid reputation as a versatile and powerhouse performer, carries the film with an undeniably magnetic performance. As talk show host Jack Delroy, he’s charismatic, fragile, and increasingly desperate. Dastmalchian brings a level of sincerity that keeps the film grounded, especially during its more chaotic sequences. He sells the role of a man teetering between skepticism and obsession.

The supporting cast is solid but less memorable. Ingrid Torelli as the young possessed guest offers some standout moments, especially in the way she balances innocence with dread. But many of the other characters feel underwritten or flat, existing more as archetypes than real people. Once the film loses control of its tone in the second half, the performances also suffer. The sincerity begins to feel strained, and what was once unsettling becomes unintentionally comedic.

Direction

Colin and Cameron Cairnes show promise in the director’s chair. The first half of the film is tightly controlled, and the build-up is handled with genuine suspense and intrigue. They understand how to slowly peel back layers, creating an effective sense of dread without relying on cheap tricks.

But the pacing, along with many other story levers, collapses in the second half. What begins as a slow-burn thriller devolves into cartoonish absurdity, completely undermining the mood and structure they had so carefully built. The escalation lacks control, and the climax feels less like a payoff and more like a different film entirely. There is a clear divide between the grounded horror of the beginning and the chaotic nonsense of the end.

This is where the direction fails the most. It feels like two different visions stitched together without harmony. The final stretch loses any tonal grip, and what could have been a masterclass in restrained horror turns into something closer to parody.

Storytelling through Cinematography

The storytelling here is expertly woven into the cinematography. The found footage style in Late Night With The Devil feels purposeful, never just a gimmick. The camera work mirrors the unfolding narrative in a way that keeps you on the edge of your seat. The flicker of the old TV monitors, the graininess, and the shifting focus all add to the sense that this is not just a film you’re watching, but an experience you’re living through.

The way the cinematography shifts between intimate close-ups and wide shots of the studio feels organic, pulling you deeper into the tension of the show. The shots of the audience, sitting, expectant, waiting for something to happen, feel almost voyeuristic, like you’re right there with them. Then, as the horror starts to build, the camera lingers just a bit too long on certain details, making you feel uncomfortable and trapped in the moment. It’s a brilliant narrative device that plays with your expectations and builds suspense.

In contrast, the film’s darker moments are portrayed with haunting precision. The visuals of the devilish presence lurking behind the television set or creeping into the studio are expertly timed. The low-angle shots of the host as he transitions into something sinister create a palpable sense of dread, while the smooth transitions between calm and chaotic further immerse you in the growing unease.

Camera Work

The camera work in Late Night With The Devil is nothing short of spectacular. It’s clear that the filmmakers wanted to replicate the feeling of old-school late-night TV shows, and they nailed it. The shaky camera work during moments of suspense isn’t just a cheap technique, it enhances the realism, making the audience feel like they’re part of the action. There’s a constant sense of movement, but it’s controlled, making you feel like you’re following the events unfold in real-time.

The use of handheld shots during key moments, especially when tension is rising, is perfect for building anxiety. However, what really elevates the camera work here is how it plays with space. The shots are often framed with the host in the center, but as things get more chaotic, the camera moves in unpredictable ways, shifting the perspective to create unease. The tight close-ups of the host’s face, juxtaposed with wide shots of the audience, create a disconnect that keeps you on edge.

In the more suspenseful moments, the camera pulls back just enough to reveal the audience’s reaction, allowing you to see their fear while heightening your own. This is a great technique that really brings the found footage genre to life.

• Cameras: The film was primarily shot with ARRI Alexa LF, a large-format camera that allowed for stunning image clarity and the ability to shoot in low light, critical for those dark, intimate studio shots. The choice of the Alexa LF is smart because it gives that filmic, grainy quality to the footage that mirrors the aesthetic of the 70s without sacrificing too much image quality. It’s versatile for capturing both close-ups and sweeping wide shots with ease.

• Lenses: Cooke S4/i Lenses were used to give a vintage feel to the image. These lenses are known for their beautiful, natural rendering of skin tones and the subtle texture they impart to each shot. They help achieve the warm, nostalgic look that feels like an old television broadcast but with a modern touch. The choice of these lenses also allows the filmmakers to capture the intensity of the horror elements without it feeling too digital or sharp.

The Cooke lenses are perfect for creating that soft, creamy bokeh, which works brilliantly in the close-up shots of the characters. This softness adds an emotional depth to the moments where the horror element starts creeping in. In contrast, the wide shots of the audience and the host are sharp, capturing the eerie, clinical nature of the studio and reflecting the growing tension.

• Lighting: Lighting plays a massive role in shaping the tone of the film, particularly in the darker moments. The team relied on low-key lighting and practical lights on set to make the studio feel confined and claustrophobic. The lighting sources, lamps, stage lights, and the glow from the television screens feel authentic to the period, helping to sell the late-night TV atmosphere. The choice to leave certain areas of the studio in shadow is effective in building suspense and fear, creating a sense of the unknown just outside of the frame.

• Film Stock: The team used Kodak Vision3 500T film stock, a personal favourite of mine, as it's known for its fine grain and natural colour reproduction. This gave the film its distinctly “old-school” look, making you feel like you’ve just discovered an old TV broadcast from the ’70s. It perfectly balances the horror tone with a sense of nostalgia for the golden age of television.

Use of Space and Environment

The film’s recreation of a 1970s late-night talk show set is outstanding. The confined, controlled environment creates a natural tension, and the film makes excellent use of its stage space. The flickering lights, grainy textures, and production design all feel lived in and era-appropriate. There is a strong visual identity in the way it blends the language of live television with horror cinema. The set design and props make you feel like you’re sitting in that very studio, watching this chaotic live broadcast unfold. There’s a sense of claustrophobia as the camera lingers in narrow hallways or tight studio corners, while the wide shots of the audience make you feel the size and scope of the studio.

What’s really effective is how the space changes as the horror element intensifies. The camera moves into dark corners of the studio where the devil’s presence lurks, creating a stark contrast between the bright, welcoming lights of the stage and the terrifying shadows in the background.

Consistency and Intent

Visually, the film starts with clear and thoughtful intent. It uses the television aesthetic to disarm the viewer, slowly introducing moments of surrealism in a grounded setting. But that consistency begins to fall apart as the film does. By the third act, the stylistic discipline vanishes. The visual language becomes erratic and uninspired, failing to build on the atmospheric groundwork laid early on.

Emotional & Intellectual Impact

The first half of Late Night With The Devil had me. It was gripping, strange, and hinted at something profound beneath its retro horror aesthetic. I was excited, curious, and genuinely impressed by how tightly it all came together. But by the time the credits rolled, I felt disappointed and a bit betrayed. The second half completely collapsed under the weight of its own ambition. It traded in intrigue for absurdity and sacrificed its tone in favour of spectacle that didn’t land.

There was so much potential for this to be a new cult classic. Instead, it felt like a film that got spooked by its own cleverness and abandoned it for cheap thrills. It’s frustrating because the foundation was there. A great concept, a committed lead performance, strong visuals, and a really fresh setting. But the follow-through just wasn’t there. It started like a slow-burning séance and ended like an over-acted Halloween skit.

Conclusion‍

Late Night With The Devil is a classic case of a great idea let down by poor execution. It has moments of brilliance, especially in its first half, and the aesthetic choices are admirable. But it stumbles hard where it matters most. In its storytelling and tonal control. There’s no denying the ambition here, and I will always appreciate horror that tries to do something different. But for me, this was a frustrating watch. So much promise, so little payoff.

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