Late Night With The Devil
After the passing of his wife and in danger of losing his live late-night hosting gig, Jack Delroy’s plan for ratings goes horribly wrong. LATE NIGHT WITH THE DEVIL unfolds like an “E True Hollywood” exposé, playing the infamous 1977 studio tape of his talk show Night Owls’ Halloween episode. Jack is about to be famous, whether he likes it or not.
The tension increases with each volatile guest, culminating with the young subject of a controversial book. Jack requests a conversation with the entity possessing her, live on air, and “Mr. Wriggles” is more than happy to comply.
Everything from the lighting, the lens, costumes, set design, the score, hair and makeup, and the jokes nail the era. Along with the live tape, black and white behind-the-scenes footage shows us what the at-home audience missed.
Laura Gordon plays Dr. June Ross-Mitchell, parapsychologist, author, and Lilly’s guardian. Her motherly energy and protective nature pour off the screen. She has magnetic chemistry with the rest of the cast.
Ingrid Torelli gives Lilly a shocking presence. Her overconfident air suggests an otherworldly maturity. It is startling, reminiscent of a young Drew Barrymore after E.T. fame. Torelli breaks the fourth wall by constantly gazing into the camera. It is one hell of a turn.
David Dastmalchian owns every frame as Jack Delroy. A delicious mix of genuine and fame-hungry, his effortless performance is mesmerizing. He has the audience in the palm of his hand. You cannot take your eyes off of him.
Once Mr. Wriggles made their appearance, my heart was in my throat. I left fingernail impressions in my palm. From that moment on, the film leads up to a climax so unreal, I’ve never yelled “Oh F*CK!” so many times in one sitting. With a captivating balance of dazzling production design, jarring visuals FX, and a phenomenally demented screenplay from directors Colin Cairnes and Cameron Cairnes, LATE NIGHT WITH THE DEVIL is damn near perfect.
In Theaters on March 22, 2024
Written & Directed by
Colin Cairnes and Cameron Cairnes
Starring
David Dastmalchian, Laura Gordon, Ian Bliss, Ingrid Torelli, Fayssal Bazzi, Rhys Auteri
ABOUT IFC FILMS
IFC Films is a leading U.S. distributor of independent film, owned and operated by AMC Networks Inc. Its most recent releases include BLACKBERRY directed by Matt Johnson, BIOSPHERE with Mark Duplass and Sterling K. Brown, and the documentary LAKOTA NATION VS THE UNITED STATES directed by Jesse Short Bull and Laura Tomaselli and executive produced by Sarah Eagle Heart and Mark Ruffalo. Forthcoming titles include Amy Redford’s WHAT COMES AROUND and the recently announced documentary THE DISAPPEARANCE OF SHERE HITE from Nicole Newnham and Cannes Award-winner POT AU FEU from Trần Anh Hùng. Some of the company’s successes over the years include BOYHOOD, THE DEATH OF STALIN, FRANCES HA, MY BIG FAT GREEK WEDDING, Y TU MAMA TAMBIEN, THE BABADOOK, TOUCHING THE VOID, 4 MONTHS, 3 WEEKS AND 2 DAYS, CHE, SUMMER HOURS, ANTICHRIST, IN THE LOOP, JOAN RIVERS: A PIECE OF WORK, TINY FURNITURE, CARLOS, BAD AXE and CORSAGE, among others.
ABOUT SHUDDER
AMC Networks’ Shudder is a premium streaming video service, super-serving members with the best selection in genre entertainment, covering horror, thrillers and the supernatural. Shudder’s expanding library of film, TV series, and originals is available on most streaming devices in the US, Canada, the UK, Ireland, Germany, Australia and New Zealand. For a 7-day, risk-free trial, visit www.shudder.com.
EXHUMA
An ancient evil affects the firstborn children of a wealthy family with uncontrollable wailing in their dreams. Eager to cash in, a team of macabre experts takes on this new client. As they dig deeper into this unique case, the usually confident group discovers they are in over their heads. In EXHUMA, that’s only the beginning of this horrifying tale.
Performances are magnificent across the board. This spectacular multi-generational ensemble cast delivers engrossing mystery and terror. The script unfolds in chapters, like a how-to guide dealing with the underworld. Descriptions of rituals and occupational titles come in narration from the team. This creative storytelling immerses the audience in what feels like an inevitable tragedy. Complicating things further are the secrets our wealthy family hides. Genre fans will have a field day with horror canon balanced with the slightest touch of humor and serious gore. It is beyond compelling.
Mixing tradition and superstition combined with an ominous score makes the hairs on your arms stick straight up. It’s a multi-sensory watch. EXHUMA deserves your full attention from the very first frame. There is so much meat on the bone. Expanding this world almost certainly feels possible and welcome. At its current runtime of two-plus hours, viewers would eat up more stories from this team. Their chemistry is magic, and a franchise would delight fans. The twists and turns keep coming. EXHUMA is undeniably one of the most intriguing cinematic experiences of the year.
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Knox takes notes in a small notebook, a less invasive version of MOMENTO. Knowing his limited time, he manipulates the evidence of a murder. We are always one step behind him. Screenwriter Gregory Poirier dazzles with this script.
Suzy Nakamura provides levity as Detective Emily Ikari. Joanna Kulig plays Annie, Knox’s Thursday date for the past four years. Marcia Gay Harden gives us a lovely scene as Knox’s ex-wife, Ruby. Al Pacino is a dear friend and associate, Xavier, who plays the point person assisting Knox in his plan to protect his son. He elevates the story with his effortless snark and caring nature. 
With a beautiful noir score, a highly effective sound mix, and slick editing, Keaton proves his legacy on both sides of the camera. The script drops clues but never explicitly lays out Knox’s plans. The audience makes assumptions and theories swirl, making the film emotionally immersive. The entire last act is an intoxicating catharsis. The pensive last shot is breathtaking. KNOX GOES AWAY will sweep you off your feet.
Annick Blanc gives SXSW 2024 audiences something to chew on with HUNTING DAZE, a genre-defying tale of isolation, pack mentality, and self-preservation. Exotic dancer Nina finds herself stuck and calls upon a former client for roadside assistance. Without transport, he brings her back to an isolated cabin in the wilderness. Upon discovering it is a bachelor party, the eclectic group of men agrees to let her stay the weekend if, and only if, she can abide by an “all for one’ mentality.
Thomas Walton‘s CAMP PLEASANT LAKE centers around a horror camp created based on a 20-year-old legend of a missing child and the brutal murder of her family on their way to the very same camp.
Christopher Sky is the former vile camper turned Camp of Terror counselor, Mike. He is a sufficient asshole and you will revel in his inevitable demise. Jonathan Lipnicki is hands down the best part of CAMP PLEASANT LAKE. His unfettered commitment to the role is genuinely awesome.
It is evident the film is made by genre fans. Practical fx are bloody good, even if the pace and dialogue drag. The kills get better as the plot rolls along. I did wish the variety of attendees had been more eclectic. At $10k each, I was looking for fewer numbers and more development of these characters because the possibilities were endless.
Nancy Travis is a lovely addition as Ed’s mother. Her down-to-earth attitude solidifies generational Kentuckian views. Travis has fantastic chemistry with each cast member. You might think she was their real-life relative. Skywalker Hughes and Emily Mitchell, as the Schmitt siblings, are darling. Each provides precisely what the other needs in each scene, giving the audience (especially parents) a genuine emotional stronghold. Alan Ritchson gives Ed a prideful authenticity. Ed is kind and quiet but mired in grief. Ritchson creates a safe space to express the nuances of loss and masculinity.
Hilary Swank gives Sharon a spitfire vibe. She’s smart, organized, and motivated to make a positive mark on one family’s life. Initially going through the motions as a high-functioning alcoholic, this hairstylist-turned-advocate does her best to save the life of a little girl and her family drowning in debt and personal loss. Swank delivers on Sharon’s renewed sense of purpose. A backstory brimming with unresolved trauma speaks volumes. Swank navigates the underlying complexity like the pro. Franky, she is a tornado of energy that makes ORDINARY ANGELS a sweet and inspiring watch. 
ORDINARY ANGELS have genuine
The documentary is by turns uplifting and shattering. Most powerfully, it is a stark reminder of the human costs of ongoing Russo-Ukrainian war. Unbelievably, this week will mark 2 years since Russia’s invasion and escalation of the conflict. While the war may not be at the forefront of the public conscious in 2024 to the same degree as it once was, it remains a constant for the staff and families at Veselka. This is not an overseas battle for them – these are their loved ones and families fighting and dying while the world moves on to the next crisis.
The film takes place in a single location where The Interviewer records her podcast. The secluded and expansive modern mid-century estate allows her to wander, but most of the action happens at a desk or in front of the wall of windows that contain her discoveries. Our journalist creates an episode of her first phone calls. Editing the calls at her will, the audience questions her culpability. This small moment puts your morality compasses in a tailspin. It is a slick move from writer Lucy Campbell. Podcasts are my nightly ritual, cleaning motivation, and my travel companion. Since SERIAL, the industry has exploded. In MONOLITH, the story goes viral. People begin contacting her directly with their stories, always warning her to stop.
At some point, the danger reaches the front door of our journalist’s secluded location when she receives a package related to the mysterious story. The darkness attached to the object feels slightly Faustian and not of this planet. No one remembers how they received their object, but each reaches a point in questioning where they feel compelled to hang up out of fear.
Is this a case of mass hysteria? In many ways, the plot mirrors today’s conspiracy groups like QAnon. Our leading lady goes down the rabbit hole, and the audience follows. MONOLITH boasts a jaw-dropping final ten minutes. This is one hell of a sci-fi thriller. It is a must-see.
On-the-ground video from January 6th, up close and personal from cell phones, retraumatizes the viewer. The new footage is mind-boggling and will undoubtedly fill you with rage and disgust. The film features sociologists, authors, historians, lawyers, and pastors. We examine the Constitution and the precise articles requiring separation of church and state. We look at evolving statistics on social issues through the years. The interconnectedness of women’s rights, race, and power is undeniable. 
Violence as a means of “spiritual defense” comes directly from the pulpit over and over. The film effectively builds towards January 6th by wading through the madness swirling in the years prior. It is utterly bewildering and 100 percent terrifying. This coordinated effort to keep people in a cult is deliberate and well-funded. History repeats itself. Wait until you find out the architect of Evangelical sermons. 
GOD & COUNTRY keenly explores the long history and bastardization of Christianity through White Nationalism. It is a political movement about power. America is a ticking time bomb encouraged by social media, media, and billions of dollars. Stay vigilant and show up at the polls because democracy depends on it.
Cleverly choreographed camera work by Aurel Ganz makes us think the film is one long take. Just as impressive is the actual shot list. 28, to be exact. It is one hell of a visual feat. The flip side of these takes is the narrative feels draggy even at 110 minutes. The sci-fi element does not seem necessary to the plot. Ultimately, it goes nowhere. 
Performance is solid from our four main leads, each one bombarded by misogyny, judgment, and outright hateful behavior. LAST PARTY might be more successful as a series. There is much needed in character development, although the breadcrumbs are there. It feels more like a treatment for a larger project than a stand-alone piece.
Authentically hilarious, audiences get to know Nellie through a series of sexual romps, engagement parties, weddings, baby showers, and pregnancy panic stories. The inundation of opinions and horror stories sounds familiar to me. I got pregnant at 35 and 36, so, naturally, I was deemed a “geriatric.” The combination of rage and fear was no joke. Leah McKendrick nails the ups and downs of that stage of life. It’s an existential crisis that you only truly understand if you’ve experienced it firsthand.
Mort and Michelle’s dynamic feels incredibly forced. The dialogue is a bizarre mix of awkward bad jokes and deeply personal romantic words. It is a baffling mix. The story is a mess, and there are innumerable superfluous scenes. The pace is glacial. At an hour and fifty-six minutes, this could have been eighty minutes at the most. 
The most successful aspect of the film is Eric Roberts‘ soothing narration, but there are too many inconsistencies for the final twist to go down smoothly. This is one of those times where a flashback montage of all the clues would greatly benefit the film.
Timoner gets a completely unfiltered look inside the magic and mayhem in 7 years of behind-the-scenes footage. It’s a competition between the vibrant, often cocky, argumentative, drug-fueled, genuinely talented musician behavior of BJM versus the chill, business-minded, trustworthy, equally gifted Dandys. Each band pushes the other to greatness with contrasting tactics. Ondi’s handheld freestyle way of shooting is immersive and tangible. With the rapid-fire editing and narration from Joel Gion and Courtney Taylor, you’re entirely entertained. Huge personalities clash, eccentricities push people’s buttons, and childhood trauma rears its ugly head. 
Kate Lyn Sheil (
My love for Scott Haze knows no bounds. From his breakout performance in 
The ominous score by Tristan Bechet sometimes grates in a way that makes you subconsciously cringe. The continuous low din instills pure fear. Stay through the entire end credits for more eerie ear candy. THE SEEDING has echoes of The Hills Have Eyes horror and Midsommer folklore. All said it is an upsetting watch, and that’s what genre fans show up for.
George Basil plays Dave, the construction foreman, with a life-affirming kindness. One of his lines perfectly sums up the film’s heart, hitting you square in the chest, “We’re just friends walking each other home.” Hollowell is outstanding as Gloria. Her comic timing is the stuff of the gods, but she also delivers authentic depth. She is a star.
Kate Jean Hollowell is a multi-hyphenate director, comedian and musician, who honed her humor, storytelling and visual style by making her own music videos, showcased at SXSW in 2022 and 2023, as well as her short film Are They Smiling?, which premiered at the 2020 Portland Film Festival and won several awards. Taking on narrative, Kate has managed to find a unique voice that balances humor and heart through all her work. Finding ways to insert unexpected musical numbers in everything she does is a trademark all her own.
Political spin can make or break a campaign. Those few who possess the skill have the power to command entire nations. In the Bloomquist Brothers’ latest film, FOUNDERS DAY, a small-town mayoral race brings chaos in the form of a serial killer dressed as, you guessed it, a twisted Founding Father straight out of a cliche painting of the signing of the Declaration of Independence. As members of the town of Fairwood get knocked off, one by one, the race is one to find the killer and their ultimate motive. Tackling every political hot-button issue and tactic with a bucket of gore, FOUNDERS DAY is here to mix things up.
FREUD’S LAST SESSION
Liv Lisa Fries delivers a stunning performance as Anna Freud, Sigmund’s intellectually accomplished daughter. The complexities of the role will undoubtedly touch a nerve with many viewers. Fries navigates the character splendidly. Matthew Goode plays C.S. Lewis. Coming to Freud for an impromptu therapy session, the audience learns about his childhood and the inspiration for his creative spark of genius. Goode effortlessly matches Hopkins’s energy. He once again establishes himself as a go-to casting choice. His raw vulnerability is captivating. Sir Anthony Hopkins remains at the top of his game. As Freud, he brings curiosity, wit, and curmudgeonly stubbornness all at once. It is yet another notch in Hopkins’s impressive career belt. This ongoing tennis match of masterful acting is perfection for historical drama lovers.
The cinematography and production design are luscious. The editing is lovely. Freud moves about his home, passing through doorways only to be transported through time and memories. Meaningful flashbacks fill the screen as each man shares their intimate history beginning in childhood and explores how it informed their development. The script, alongside the editing, has a dazzling theatricality. This makes more sense once you learn the screenplay was based on Mark St. Germain‘s play, adapted for the screen by Germain and director Matthew Brown. A West End production of FREUD’S LAST SESSION would be delicious. The references to literary figures and quotations are smirk-inducing for the well-read audience, while the overarching existential volley proves delightful.
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