Cámara:
Matthew TempleReparto:
David Dastmalchian, Rhys Auteri, Ian Bliss, Laura Gordon, Ingrid Torelli, Fayssal Bazzi, Georgina Haig, Steve Mouzakis, Christopher Kirby, Gaby Seow (más)Sinopsis(1)
31 October, 1977. Johnny Carson rival, Jack Delroy, is the host of ‘Night Owls’, a once hugely popular syndicated talk show. A year onfrom the tragic death of Jack’s wife, ratings have plummeted and sponsors are getting nervous. Desperate to turn his fortunes around,Jack pulls out all the stops for his annual Halloween special, booking a psychic, a professional skeptic, a parapsychologist and a younggirl allegedly possessed by the devil... What could possibly go wrong?
Writer-director duo Colin and Cameron Cairnes craft a suspenseful narrative that unfolds mostly in real time, as the ‘Night Owls' broadcast makes surprising turns from the amusing to the bizarre to the deliciously sinister. In his first major lead role, David Dastmalchian brings compelling charisma and gravitas to the character of Jack Delroy. At its cores a tale about the cult of personality and the price of fame...with plenty of supernatural thrills along the way.
(Maslow Entertainment)
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Reseñas (5)
El excelente actor de reparto David Dastmalchian brilla en el papel principal de un presentador de un programa de entrevistas nocturno cuyo especial de Halloween de 1977 es interrumpido por un fatídico invitado no invitado. La película completa se presenta en el formato de una grabación recién descubierta del episodio en cuestión del programa, cuyo metraje entrelaza gradualmente un hilo de preocupación y tensión escalofriantes entre bromas artificiales, programas de variedades y sensaciones creadas artificialmente, que se aumentan y aumentan con el paso de los minutos hasta que culminan en el sorprendente final. Recuerda, por ejemplo, a la joya de culto británica Ghostwatch, también ambientada en un estudio de televisión, pero que priorizaba la autenticidad. Late Night with the Devil no intenta fingir la autenticidad a toda costa, sino que, por el contrario, mediante desviaciones del formato recuerda al espectador que sigue siendo principalmente una película narrativa, y además, muy impresionante. Sabemos muy bien desde el principio que algo aterrador se avecina. Y cuando llega, vale la pena. [Sitges 2023]
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Buen refrigerio con un concepto original: la película es como la grabación de un episodio de un programa de entrevistas de los años setenta, en el que empiezan a suceder cosas paranormales. Y va a ser duro. Excelente David Dastmalchian como presentador del programa, personajes secundarios bien elegidos, sensación de autenticidad y bonitos efectos visuales. Esperamos mucho tiempo por los momentos de terror, pero son impresionantes. Los espectadores que realmente creen en lo paranormal, es decir, que no es sólo un atractivo motivo cinematográfico para ellos, quedarán muy contentos. En mi opinión es una pena que el guion no haya desarrollado más los motivos de la difunta esposa y el bosque con árboles altos. Podrían enriquecerlo en términos de contenido. [Sitges FF]
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It's not a groundbreaking horror film that is shockingly violent or scary, but it gets points for its original concept (and they say it’s not possible!) and for being different, definitely a film that can't be compared to anything else. The film manages to win the viewer over from the beginning with an artificially contrived Talk Show that is simply fun, and once it gets into the horror gear, it’s fine too. I liked the faithful 70's retro feel, the performances from everyone involved (Dastmalchian shines for perhaps the first time) and the decent atmosphere. Surprisingly, it's also decently brutal at the end, and there's an interesting twist. So even though it's not a genre film that should be attacking the top rungs of the horror charts, it's definitely something that should be supported for being fresh and different. Paranormal a little different. 75%.
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Damn, I was almost sure I'd be more excited. After watching it, the hype bubble burst pretty loudly. The grit of the film is a pastiche of 70's TV shows, with a retro atmosphere that feels authentic. I was hoping it would realistically work as a horror film, but unfortunately, there's only a trace amount of horror. Plot-wise, the film doesn't surprise much, especially considering the few opening minutes of explanation. And for me, it kind of incomprehensibly and bizarrely fails to even stick to its concept, dropping out a couple of times. As a result, I find Late Night with the Devil to be at most an enjoyable, noteworthy little genre flick. Not a major work by any means.
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The mass hypnosis obviously worked, but that’s not surprising, because in the usual slim pickings of genre festival programmes, viewers willingly let themselves be deluded by anything with a hint of distinctiveness or an atypical approach. With a clear head, however, the whole film’s shortcomings are readily apparent. We can hope that Late Night with the Devil started out as an ambitious project that, however, was taken out of the filmmakers hands by the producers, who told them that they had to add an explanatory introduction so that even the dullest viewers would understand what they were watching, but it unfortunately also tells them how everything will unfold. Through numerous clues, however, it becomes apparent that the creative duo behind the film are exceedingly lackadaisical in terms of screenwriting, so they slavishly incorporate everything that is literally said in the introduction into the narrative in a way that’s anything but organic. That this can actually be done right is demonstrated by Amanda Kramer’s virtually identical Give Me Pity! from a year prior, which not only manages to stick with the chosen concept of a television show, but also abounds with real inventiveness and captivating creativity despite the low-cost production. By comparison, Late Night with the Devil comes across as a desperately limp knock-off that’s unable to replicate an identical concept, let alone fulfil it, and can thus only pretend to be unique while actually being just another run-of-the-mill trash flick.
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