At times I feel like the horror genre is so saturated that cooking up something truly unique has become too tall a task. Slasher, monster, found footage, possession, haunted house–it’s been done– reduced to a million variables in the same plug and play equation, the ultimate culmination being reflection; Have I seen this before? Was it scary? ​ Late Night with the Devil is one of those rare horror movies that hits on every mark. Whether grading it on how well it accomplishes what it set ought to do, or the merit of the film as a whole; it exceeds far beyond what I’ve grown accustomed to within the genre. The formula tweaks just enough to feel like a wholly unique experience. With confidence I can answer; No, I have not seen this before, and yes, it was scary. The movie centers around late night 70’s talk show host, Jack Delroy (think Johnny Carson, in all his glory). Following the tragic death of his beloved wife, ratings for his show plummet. Desperate to turn his fortunes around, on October 31st, 1977, Jack plans a Halloween special the likes of which has never been seen. His guests? A psychic, an illusionist, and a parapsychologist accompanied by her enigmatic subject, Lilly. As you can imagine, things don’t go according to plan. The film is highly stylized, bouncing between the traditional late-night-format of the 70’s and tracking shots of backstage banter during commercial breaks. It’s all about capturing the uncertainty of the live broadcast. The drama. The excitement. The cautious sociability of the host. All of a sudden…  We’re back Night Owls! No guest is an island; they interact on and off air, voicing their concerns and skepticism as things progressively unravel. But alas, the show must go on. Ever the moderator and provocateur, Jack throws caution to the wind. In turn, the tv segments are full of shock and misdirection. There were several moments I found myself at the edge of my seat, certain of what was to come, only to be thwarted by a red herring, or put on standby until I forgot about the plot device entirely (only for it to fulfill its purpose later down the road). The movie is expert in these little details, and the air of foreboding pervades every segment. But it’s not really about the show, is it? It’s about Jack. It’s a fine line to tote, between sprinkling and spoon-feeding. The movie does a brilliant job of not-so-subtly layering clues about Jack’s life into the broadcast, and his ascension to this critical point. Just cryptic enough to follow without feeling lost. They provide the thread; we weave the tapestry. Every story beat feels earned without forcing us to dig. But the most persuasive bit isn’t the story or the special effects (albeit great), it’s David Dastmalchian. Suave and sycophantic, we find the devil in the details of his performance. A frontrunner for best horror movie of the year, Late Night with the Devil delivers on all fronts. For a story with no shortage of allusions, the sum of its parts feels entirely original. The film is fiendishly clever, and deserves to be in conversation with the new-age classics.