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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Filmmaker Kailee McGee shares snapshots of her innermost thoughts on her journey with breast cancer. Tongue in cheek, manic, clever, stream of consciousness, unfiltered, and hilariously meta, CAN feels revelatory. It is celebratory irreverence. McGee makes her situation relatable and palpable. She is raw and funny as hell. I would 1000% watch a feature-length version. It has that “it” factor, and McGee owns every bit of its magic.
Riley Dandy (
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.
Fast fashion and exploitation. The popular teen brand Brandy Melville comes under the microscope in a new documentary feature premiering at SXSW 2024 Brandy Hellville & the Cult of Fast Fashion. In the film, former employees discuss how they got hired, the company’s everyday practices, and the fallout of their exposure.
Alison Tavel sets off on a global journey to learn more about her estranged father’s mysterious invention and, ultimately, the man himself. 
Ali’s ability to disassociate makes sense. As a child of divorce when I was five years old, few memories remain. My father, like Ali’s, is still a stranger. She wrestles with differing opinions of who Don was. So many questions arise during her search. What the hell is a Resynator anyway? With all the hype surrounding its invention, why didn’t it blow up? Did depression play a part in Don’s accident? 
Danny Madden’s animation transitions are charming. We experience them alongside archival audio of Don demonstrating the Resynator. Ali utilizes a unique device in narrating the film in the form of a letter to her father, which makes more sense when a box arrives from her aunt. Her most poignant discovery comes in the form of long-lost letters from her father, found in the basement after the passing of her grandmother. 
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.
Director Shannon Walsh shares the extraordinary love story between an artist and his larger-than-life wife. SXSW 2024 audiences discover the legacy of Adrianne and Alan St. George. This documentary is a tale of adoration, art, and Adrianne.
Herein lies the challenge for Alan and Shannon. How do you do justice to such a love story? Experimental musical interludes, Adrianne’s Doll Room, quirky home movies, and the ever-expanding house that grows like a whimsical version of The Winchester House. The mansion is an explosion of color, lavish draping fabrics, sculptures, and murals, all featuring Adrianne and Alan’s likenesses. It is Versailles meets Grimm’s Fairytales, each room mirroring a slice of her exuberant persona. She was and remains Alan’s muse for all things. 
SXSW 2024 audiences are in for a real WTF documentary in Jonathan Ignatius Green‘s DICKWEED. In 2012, a wild kidnapping in the middle of the night led to torture, mystery, and one man’s loss of his, let’s say, manhood. The ensuing wild goose chase and brazen criminal actions challenge all involved. Police had no idea what kind of mastermind they were dealing with.
Dr. Franklin Caul has created a simulated consciousness with the dead. The DOJ wants it, but Caul has ulterior motives. The tech uses data from the deceased to have conversations or seek answers. In the mix is a swirl of overlapping thoughts and confusion that get under your skin. You cannot help but listen to them, and they are chilling. Caul observes that when suicide is the cause of death, the deterioration of self slows.
What might sound crazy is that this tech already exists. Customers can pay several different companies worldwide to build an AI version of their past loved ones. A recent Sundance documentary, 
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.
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