Back from the dead, found footage regains its glory with the thrilling Late Night with the Devil.

Like a demonic creature, the found footage genre has been pronounced dead more than once since its heyday in the 90s. And yet, there are still some bursts of originality that prove the genre can still surprise and be relevant. Late Night with the Devil is one of them.

From the minds of director brothers Cameron and Colin Cairnes, Late Night takes as its theme the national popularity of interviews and talk-shows in the 70s. Host Jack Delroy (David Dastmalchian), in the throes of audience decline, decides to play with the spirits for a Halloween party in the hope of regaining his ratings through sensationalism.

Late Night‘s primary strength lies in its commitment to its concept right to the end. Throughout, the interplay of cameras, commercial breaks and audience keeps the pressure on and never lets up. The brothers’ refusal to show us any set other than the TV stage and its meager backstage facilities also contributes to this heavy atmosphere. So much so that Late Night seems like a sequence shot when it’s not.

The film also benefits from a very good cast of characters, each with a voice and a psychological impact on the audience and us. Carmichael Haig (Ian Bliss) is almost as fundamental an element as Jack Delroy, constantly supporting his skepticism of the situation. In other words, he’s our reality check, and it’s at the moment when it tips over that we get scared. Speaking of the actors, it’s impossible not to mention Ingrid Torelli (Lilly), who proves undeniably effective in her role, mastering her voice, gestures and looks.

Late Night with the Devil could be criticized for forgetting to delve into certain aspects of its characters, their stories. Of wanting to know a little more. But the film’s quality also lies in its effectiveness. In the principle of sticking to the basics of its concept and never letting go, despite the embarrassment, ridicule or horror that comes its way.

Inevitably, the Cairnes brothers paint a very gloomy portrait of TV, with its obsession with ratings, no matter what the cost. But it’s also a good example of how sensationalism appeals to the mind. After all, the film’s horror talk-show concept is what gives it its originality and our curiosity. There’s a kind of double-edged sword between TV producers’ sick, unhealthy quest for ratings, and our repulsive desire to see the forbidden before our gawking eyes.

With its originality and execution, Late Night with the Devil is really impressive. It succeeds in convincing us of its concept through its ingenious shots, and in enveloping us in an increasingly wicked atmosphere. Right to the end, we’re hooked to our TV, like a spectator fascinated by what’s happening live in front of him.