A still from ‘Late Night with the Devil’

Over a year since its first premiere, Late Night with the Devil has finally emerged as a biting satire and a cautionary tale wrapped in the trappings of a Halloween horror special. Directed by Australian duo Colin and Cameron Cairnes, the film presents a deviously sinister narrative set against the backdrop of a 1970s talk show, delivering both nostalgia for the era and a fresh take on the plagues of mainstream media.

David Dastmalchian shines as the hapless Delroy, channeling equal parts charm and desperation. Once a rising star in the late-night circuit, the talk show host finds himself grappling with declining ratings and personal tragedy. Beneath Delroy’s slick smile lies a darkness that threatens to consume him whole. As the night unfolds and the studio descends into chaos, Delroy’s Faustian bargain becomes increasingly clear, serving as a prophetic admonition for the pitfalls of ambition in the cutthroat world of showbiz.

The Cairnes brothers’ meticulous attention to detail is evident in every frame, as they skillfully recreate the aesthetic of a ‘70s studio. From the vintage celluloid wash of period-appropriate equipment to the pitch-perfect performances that straddle the line between camp and sincerity, the film transports us back in time, immersing us in the bygone era of live TV.

The Australian filmmakers demonstrate a keen eye for parody, infusing every dialogue with sly wit and biting humor that all hint at a brewing tragedy about to unfold. The writing revels in its own absurdity while never losing sight of its thematic underpinnings. Through Delroy’s increasingly desperate attempts to salvage his show à la Network’s Howard Beale, the film skewers the shallowness of celebrity culture and the relentless pursuit of ratings at any cost. It’s a deliciously wicked send-up of an industry built on smoke and mirrors, where reasoning is often sacrificed on the altar of entertainment.

David Dastamalchian as Jack Delroy in a still from ‘Late Night with the Devil’

Delroy’s interactions with the eclectic cast of characters — including the creepy Lilly (played with frightening eccentricity by Ingrid Torelli), the charming psychic Christou (a scene-stealing turn by Fayssal Bazi), and a curmudgeonly skeptic Carmichael (played by Ian Bliss) whose sole purpose seems to remind us as the audience of how stupid we are from the get-go — is disconcerting to watch, each interaction provoking an uncomfortable wriggle in our seats in anticipation for the climactic tipping-point.

Without a doubt, the pièce de résistance of the film, much to the glee of horror aficionados, is its delightful medley of homage to genre classics. From John Carpenter’s gleefully grotesque embrace of practical body-horror to loving tributes honoring Linda Blair’s iconic, hair-raising transformation, the Cairnes’ love affair with the genre dances across the screen with a flair that’s uniquely their own.

While Late Night with the Devil is undeniably a horror film, it transcends genre conventions with the Cairnes brothers expertly balancing moments of tension and humour, keeping us hooked from start to finish. With its tongue planted firmly in cheek, the film delivers (nervous) laughs aplenty amidst the screams, serving as a wickedly entertaining romp through the darker corners of the entertainment industry. Though the film may lack some genuine surprises, its real strength lies in its sardonic observations on the industry and some chilling, atmospheric storytelling.

Late Night with the Devil is a devilishly clever satire that serves to expose the dangers of unchecked ambition and the seduction of sensationalism in the media. It’s a reminder that lurking within the neon glows of our living rooms (or perhaps just among the Jimmy’s) are the most malevolent monsters we willingly welcome.

Late Night with the Devil is currently running in theatres.

BLUELOCK THE MOVIE -EPISODE NAGI- is a retelling of the early events of BLUELOCK through the eyes of Nagi and Mikage. However, that’s not to say this is a recap or compilation film. Rather, a good 70% of the film is newly animated footage as the story follows their first meeting, their growing friendship, and the first few trials of the Blue Lock competition.

It is these additions to the story that are the most interesting. Not only do we get to see a completely different version of the soccer tag game that starts things off, but we also see how Nagi and Mikage deal with the other teams we saw Isagi and his friends confront in the early part of the TV series.

Of course, the real meat of the story is centered around the titular Nagi. We spend most of the film in his head—hearing his internal struggle to understand his opponents and himself. This allows us to see that his growth as a character isn’t the light switch flip it seems to be in the main anime but is instead a gradual process that culminates in his game with Isagi (and the choices he makes after).

Throughout the film, Nagi goes from being perpetually bored to not being bored when he’s with Mikage to caring about soccer after clashing with Isagi. This vastly improves his character by making him far more nuanced and understandable—which is important given how prominent he becomes in the series overall.

Mostly, BLUELOCK THE MOVIE -EPISODE NAGI- works as a standalone film. While knowing the rules of the various challenges within Blue Lock and how Isagi dealt with them adds an extra layer to the story, the focus on Nagi makes the film watchable even without that information.

…And then comes the last 10 minutes of the film.

This film’s climax is when Nagi must choose between Isagi and Mikage. Everything in the film builds to this choice. Thus, the logical conclusion point for the film is right after Nagi makes it. However, instead of doing this, the film becomes a montage cramming 12 episodes of action into 10 minutes. It’s visual chaos. It’s impossible to follow what goes on, and even the key moments with Nagi and Mikage from the series’ back half are almost completely cut. Or, to put it another way, this film would be far better if it were 10 minutes shorter.

As for the presentation, the film looks great—as good as the TV anime in most places and better than it in others. Nagi’s flame and skull motif looks great, and the visuals, in general, show just how invested Nagi is at any given moment in what’s going on. Conversely, the music is largely forgettable, but it does its job well enough.

In the end, BLUELOCK THE MOVIE -EPISODE NAGI- is a great companion piece to the original BLUELOCK and a halfway-decent standalone film. It would be even better if it weren’t for its final minutes (and their unnecessary need to catch us up to the end of the first season of the TV anime). Still, BLUELOCK fans will enjoy this one, even if it stumbles a bit on the landing.

The opinions expressed in this article are the writer’s own and do not reflect the views of Her Campus.

This article is written by a student writer from the Her Campus at San Francisco chapter.

On Monday, April 22nd Regal Stonestown Galleria, just a few hundred feet away from SFSU, hosted an advanced screening of Challengers, one of the most highly anticipated movies of 2024. Directed by Luca Guadagnino and starring Josh O’ Connor, Mike Faist, and Zendaya – Challengers I can confidently say, lived up to its long awaited release. 

The original release date for the film was September of 2023, but with the WGA/SAG-AFTRA strike, we got our first trailer in June of 2023 to then have to wait a grueling ten months for its release. I have already seen the film twice and cannot wait for it to hit streaming platforms and here are three things that I will not stop talking about.

Codependency: The Movie

Given the director’s candid remark, “I think those three characters in that movie are beautifully complex and really f*cked-up people that I love very much,” it couldn’t be a more fitting description for Art, Tashi, and Patrick. The audience has been divided by their love, understanding, or attraction to each character. However, after watching it for the second time, I’ve come to realize that these characters are indeed beautifully complex. They are all in pursuit of something they can only find in each other, which undeniably influences their actions. Therefore, when you find yourself torn between Team Art, Team Tashi, or Team Patrick, you might unconsciously be gravitating towards the character whose actions you find most tolerable. After my first viewing, I was 100% Team Art, but even at the time of writing this article I don’t know where my allegiance lies at this point.     

Stellar Cinematography

Italian director Luca Guadagnino has solidified his status as a legend in the film industry, known for creating emotionally complex, sultry, and visually captivating works. Challengers, is no exception. As a cinema student, I was fascinated by cinematography. For those familiar with Guadagnino’s 2022 film Bones and All, starring Timothée Chalamet and Taylor Russell, you’ll notice striking similarities. The movie sports camera angles that bring you intimately close to the characters, almost as if you’re intruding on their personal space. There are intense shots that seem to place the camera on the tennis ball as it zips back and forth across the court. True to Guadagnino’s style, there are also moments where time seems to slow down amidst what would otherwise be fast-paced scenes.

Sexual Tension 

This. Movie. Is. Sexy. 

For a film that has absolutely zero sex scenes, there are moments in this film that will leave you feeling flushed and excited. As someone who’s never been a big sports fan, I now see tennis as the most intimate sport out there. I will keep this paragraph short but all I will say is that viewers will walk away from this film with a new love for short shorts, sweat, and they’ll never look at a churro the same way again.