Review Category: Movie

This is an account of the final broadcast of the ’70s chat show Night Owls, featuring late-night telly sensation Jack Delroy (David Dastmalchian) – who, in a bid to beat out Carson, unwittingly unleashed Hell on the airwaves. It’s a chilling nightmare in the annals of American TV, sure, but still preferable to Carpool Karaoke.

Chasing flagging ratings, beleaguered Jack Delroy attempts to spice things up with an occult-themed episode of his show, first hosting questionable medium Christou (Fayssal Bazzi), and then introducing a woman (Laura Gordon) and her creepy young charge (Lilly, played by Ingrid Torelli) – who she claims is possessed by a demonic entity. As an ill-advised demonstration unfolds, Delroy ushers demonic forces far beyond his control… you know, like Jimmy Fallon’s 2016 interview with the Trump, except less gross.

This found-footage film by Cameron and Colin Cairnes does terrific work copying the look and feel of a ’70s-era American talk show, from the in-house band to the chintzy suits, cheesy jokes, and put-upon producer (Rhys Auteri). This was the decade of The Exorcist, Vietnam, and Jimmy Carter, when a shocked nation was still reeling from the murder of Sharon Tate by the cult of Manson, and a time when Johnny Carson ruled late-night TV.

Harnessing this moment in time and pop culture, the writer-directorial duo let Night Owls do its thing, airing as normal aside from a brief introduction by the narrator (a gravelly, well-cast Michael Ironside) and behind-the-scenes footage during ad breaks (think This Time With Alan Partridge). Otherwise, Late Night With the Devil never breaks character, recalling the recent Inside No. 9 episode 3 by 3 or a Documentary Now! entry in its admirable commitment to the bit.

The unique structure lends itself well to the story being told, with the tension gradually building throughout. Dastmalchian makes the most of a rare leading role, a man clearly struggling with deep grief, resentment and a hidden darkness behind the warm and cuddly TV host demeanour. You know, similar to James Corden, except we actually like Jack Delroy.

Meanwhile, young Torelli makes a deliciously unsettling host to the devil inside and is well-antagonised by scenery-chewing sceptic Carmichael Haig (Ian Bliss). While it takes a moment to attune, the uncanny valley fake-it-till-you-make-it performances ultimately work for the characters (in which everyone is faking a smile, for various intents and purposes) and for the chilly tone of Late Night With the Devil.

To the credit of the conceit, both the movie and TV show within the movie are utterly compelling. A great number of demonic possession films have followed The Exorcist, but Late Night With the Devil deviously stomps its own path, forgoing the usual pea soup and pre-teen swearing in favour of its own shocking take on the mythos. Its various plot twists are too good to spoil, but do feature some delightfully Cronenbergian body horror and a series of visual effects quite unlike anything seen in an exorcism/teen possession movie ever before.

A bold, fresh and thoroughly unpredictable take on the demonic possession film, and a bloody good episode of TV too. 

LATE NIGHT WITH THE DEVIL is out in UK cinemas on March 22nd, 2024.

Kung Fu Panda 4 needs to be this franchise’s swan song. So much of what made the first two entries great – the emotional resonance, the convincing villainy, the Furious Five – is missing from the get-go. The bottom line? Mining the Kung Fu Panda conceit for entertainment value has become increasingly fruitless, further necessitating a shift away from pre-existing IP.

Kung fu prodigy Po (a returning Jack Black) and franchise newcomer Zhen (Awkwafina) form the film’s core dynamic, but their connection feels neither earned nor organic. As far as villains go, the Chameleon (a bored-sounding Viola Davis) is about as one-note as you can get. Her presence rarely, if ever, carries the intended weight, and her motivations (copied and pasted from other, better baddies) start and stop at: I want all of the power. Shallow motivations would have sufficed if her villainy didn’t feel so innocuous, but she isn’t threatening, and she isn’t interesting in how she’s threatening.

An underwritten side quest with main adventure stakes, Kung Fu Panda 4 is far and away the weakest entry in the franchise. The movie is gorgeous – easily one of DreamWorks’ most dazzling animated efforts to date – and there are many moments where its narrative shortcomings are forgotten amidst a These, at least, are somewhat pleasant distractions, but as soon as we’re ripped back into the story, we’re reminded of how just much polish this turd needs to be watchable.

KUNG FU PANDA 4 is released in UK cinemas on March 28th.

A group of activists hides out in an IKEA-like DIY store in the hopes of spending the night causing some mayhem to further their cause and spread the message about the destruction of the rainforest. Unfortunately for them, Jack (Aidan O’Hare) and his hulking brother Kevin (Turlough Convery), a hardcore primitive hunting nut who’s been pushed one step too far, are on security duty.

The filmmaking collective RKSS (comprising François Simard, Anouk Whissell, and Yoann-Karl Whissell), is best known for Turbo Kid and Summer of 84. Here, they take the generic fight-for-survival formula but with an accidental psychopath as the antagonist. None of the activists are particularly likeable, so it’s not hard to end up rooting for killer who’s picking them off in inventive ways (using his hunting know-how to fabricate traps from the everyday objects in the store. Even with the lack of empathy with the youngsters, there’s still plenty of tension built and some very brutal deaths. While the teens are less fleshed-out than the ‘adults’, the cast shows some admirable acting chops in what is essentially a trailer park version of The Most Dangerous Game.

While it may not have the crowd-pleasing qualities of the collective’s other films, it’s very well-made and boasts a gloriously cruel but satisfactory payoff.

WAKE UP screened at Pigeon Shrine FrightFest Glasgow on March 8th.

When Jessica (DeWanda Wise) decides to return to her childhood home, she soon uncovers that Chauncey, a bear she left behind called is really not happy with that decision. As it feeds on the mind of her daughter Alice and many others around it, the movie dives into a hellish ride through the endless possibilities of imagination.

With a big lean on practical effects, writer/director Jeff Wadlow (Fantasy Island) clearly wants to ensure that Imaginary feels as realistic as possible and this show throughout. His seamless transitions from reality into a terrifying realm are quite impressive. The complicated dynamic within the family comes across as natural, and their tough backstories bring a crucial balance. Outside of the main cast and a superb leading performance from DeWanda Wise is an appearance from horror legend Betty Buckley, who really brings something quite special to the foundations of the picture. It’s most welcome when there are layers to the supporting cast.

Something else that really adds to a horror movie is its soundtrack, and within Imaginary, they went all out with it thanks to the addition of composer Bear McCreary (Godzilla). You can tell that an immense amount of work has gone into it, and ultimately it brings a crucial element to a horror movie like this. Although, and unfortunately, the movie can feel somewhat very similar to what horror audiences have already seen before, Imaginary is still a worthy addition to a horror icon category that includes the likes of Chucky and M3GAN. With a focus on imagination, then a sequel is easily plausible.

IMAGINARY is in cinemas now.

Writer/director Paul Duane’s Irish folk horror delves into the world of unheard but deadly song from the past of the Emerald Isle.

Anna (Simone Collins) and Aleks (Charlie Maher) are attempting to document and gather archaic folk songs that have been passed down over generations, so they can sell them to collectors. They get a lead about a woman, Rita (Olwen Fouéré), who knows a notoriously rare song passed down from her mother. When they get to Rita’s home, their tutor Agnes (Catherine Siggins) is already there. Strictly forbidding them to record the tune and ordering Aleks out of the room. Unbeknownst to Rita and Anna, Agnes is surreptitiously recording Rita singing, and by doing so and allowing Aleks to listen to the tape, the trio’s whole world is turned upside down with deadly consequences.

The movie enigmatically opens with a quote, “Love is a knife with a blade for a handle”, which we later discover is the title of the ditty that should never be shared. It also gives an inkling as to the danger the recording will bring them. It’s a gender-specific song that speaks of betrayal and vengeance that offers a curse of its own.

Duane creates a menacing atmosphere throughout All You Need is Death, which is often disorienting and doesn’t fall prey to modern horror tropes. Like the archaic Irish songs that form the backbone of the narrative, there’s a sense that the story itself is taking place in another time. As well as the traditional Irish tunes, there’s an imposing, threatening score from Ian Lynch.

All You Need is Death is an unorthodox folk horror that burrows into the mind and assaults the senses in ways many modern tales of terror can only wish.

ALL YOU NEED IS DEATH screened at Pigeon Shrine FrightFest.