Content today thrives on existing intellectual properties, where creativity feels boxed in. Rare exceptions, such as the recently released “Dune Part Two” manage to break through with audiences. The glut of content on streaming means that the audience is watching and immediately asking, “what’s next?” Cameron and Colin Cairnes’ “Late Night with the Devil” provides a creatively fantastic highly inventive, and intriguing answer to that question.

“Late Night with the Devil” features David Dastmalchian as Jack Delroy, a contemporary to Johnny Carson in the late-night talk and variety show race. Delroy hosts Night Owls with Jack Delroy. The Cairnes’, who also co-wrote the screenplay, set their humble story on Halloween night, 1977, in which havoc ensues as Delroy interviews Dr. June Ross-Mitchell (Laura Gordon), a parapsychologist who has been treating a young teenager, the sole survivor of a Satanic church’s mass suicide.

Dastmalchian is fantastic as Delroy; poised, committed, and a truth seeker with ease as a host and interviewer, even as tough questions arise, most of which come from Ian Bliss’ Carmichael the Conjurer, who is more skeptical than the audience. Then there’s Fayssal Bazzi’s Christou, a psychic medium and aside from Delroy, probably one of the more fascinating characters.

Although many key elements make “Late Night with the Devil” a success, the key is in the Cairnes’ attention to the period the story is set in, from set design to costumes, right down to the social ingenue that captured the world’s attention. If Night Owls with Jack Delroy were a real show, it would have found a captive audience, that’s how convincing the Cairnes’ work is.

The story wears its influences on its sleeves, including the variety that Carson brought late-night audiences to their televisions, the cynicism of “Network,” and the horror of “The Exorcist,” each speaks not only to the story itself but the aspects of society at the time that an audience might connect with in the late 70s. If “Late Night with the Devil” were only focused on the look and feel of the 1970s for its scant 94-minute run time, it would be a winner.

Looks and feels are not the only thing going for “Late Night with the Devil.” The shock and awe of what the audience witnessed, what the camera captured, right down to Delroy himself, the Cairnes’ truly captured a palpable experience. Dastmalchian is key to holding the entire affair together, and he succeeds brilliantly, emanating an unexpected empathy while in front of the camera; the character development of Delroy and his entire arc are full and rich, a part of the film’s palpability.

Ingrid Torelli nearly steals the show as Lilly, the sole survivor under Dr. Ross-Mitchell’s care. The character never comes across as puppeted, another ingredient in anchoring the film’s suspension of disbelief, incredulity one might even say. The Cairnes’ carefully orchestrates Delroy’s and Lilly’s movements toward the episode’s and film’s revelations, and Matthew Temple’s cameras capture each movement convincingly.

If you’ve read past reviews, horror is not a go-to genre. There is no shame in admitting that and a colleague inquired, “why review this movie”; yet, upon reading the cast list, genuine intrigue arose when David Dastmalchian’s name was in the lead credit position. The actor, who’s had smaller roles up to this point, is a chameleon, reminiscent of actor Brad Dourif. Like Dourif, Dastmalchian disappears into his role.

“Late Night with the Devil” is exceptional filmmaking a timely story, a timeless look, and a superb performance from David Dastmalchian. The movie hits theaters this weekend and will be available on Shudder, on April 19th.