A good retro atmosphere and an actor in the role of his life make a good satanic film more remarkable
Hollywood has become a catch-all for any English-language film, and many people try to draw conclusions about the state of mainstream cinema from films that aren’t mainstream. This exposes the critic more than the film itself, because it’s almost useless. set the same requirements for an independent film than for one with a large budget.
This is not sparing the life of small films, it is relativizing what is a bigger problem. Some of these productions have enough to exist, carrying forward through ingenuity and freshness a project marked by limitations, given that the basic proposal is not exactly commercial. But yes widely interesting for fans of a different cinemawhich includes things like ‘The Last Late Night’.
The devil is in charge of the show
One of the most stimulating horror films of the year offers a brave and more than estimable proposal since its militant independence. David Dastmalchian, one of those cult actors, has his great leading role here at the hands of the directors and scriptwriters Cameron Cairnes and Colin Cairneswith a revelation film that can now be seen streaming through Filmin.
A Late Night show from the 1970s is in low hours, and its host has to resort to many sensational tricks to wake up the audience numbers. For a Halloween special in 1977, he decides deliver a shocking blow by interviewing a teenager who claims to be possessed by the devilbut what will be unleashed on the television set will be more terrible than expected.
From a found footage approach, the Cairnes seek to emphasize the impact of both their satanic mystery and their powerful satire of the world of show business and entertainment. A very poisonous dart against the desire for popularity at any cost, with sensationalism shown in its most pernicious and dangerous facet.
‘The Last Late Night’: retro charm
All of this holds up especially well through the great Dastmalchian characterization, who conveys here well that great facet of a character actor that has led to supporting roles in Hollywood productions. His good work manages to outline the character well without the need for over-explanations in which the script does end up falling.
It is true that ‘The Last Late Night’ would be an even more essential film with a series of more polished decisions, such as cutting the glimpses behind the cameras in black and white or digital effects that clash excessively with the retro charm that they recreate well with designs and atmosphere. But, ultimately, they are more excusable sins to obtain the notable high points that the film is capable of offering, taking the cinema of possessions to a very interesting terrain.
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