Saturday Night, 2024.
Directed by Jason Reitman.
Starring Gabriel LaBelle, Cooper Hoffman, Rachel Sennott, Cory Michael Smith, Dylan O’Brien, Lamorne Morris, Willem Dafoe, J.K. Simmons, Nicholas Braun, Kaia Gerber, Andrew Barth Feldman, Emily Fairn, Ella Hunt, Kim Matula, Matt Wood, Matthew Rhys, Finn Wolfhard, Jon Batiste, Taylor Gray, Mcabe Gregg, Tommy Dewey, Nicholas Podany, Drew Scheid, Ellen Boscov, Billy Bryk, Joe Chrest, Naomi McPherson, Catherine Curtin, Leander Suleiman, Jeff Pope, Presley Coley, James Logan, Justin Matthew Smith, Abraham Hsu, William C. Tate, Rowan Joseph, Kirsty Woodward, Robert Wuhl, Paul Rust, Tracy Letts, Jeff Witzke, Ted Williams, Brad Garrett, Josh Brener, and Brian Welch.
SYNOPSIS:
At 11:30pm on October 11th, 1975, a ferocious troupe of young comedians and writers changed television forever. Find out what happened behind the scenes in the 90 minutes leading up to the first broadcast of Saturday Night Live.
Described by Jason Reitman as a thriller comedy, there actually aren’t many thrills here in Saturday Night unless someone has somehow never heard of that live comedy sketch show. Taking place on October 11th, 1975, and beginning specifically at 10 pm Eastern time (New York City), the film (co-written by Jason Reitman alongside regular collaborator Gil Kenan) mostly plays out in real-time depicting a chaotic, unprepared scene of showrunner Lorne Michaels (Gabriel LaBelle), writers, producers, and comedians having no grasp on what the show is, not to mention facing several obstacles such as in-house fighting, contract disputes, and technical problems.
With a stacked ensemble playing real people (many of whom are still alive and beloved today, some of which tragically died too soon, some who became comedic legends, and at least one person nobody likes anymore for his egotistical and racist behavior), there also isn’t enough time to inject any insight into these portrayals and subplots. Instead, the whole endeavor plays like a series of in-jokes and well-known stories that serve no narrative purpose but a cheap nostalgic pop for viewers. That’s also frustrating since there are some relatively unknown names here doing some terrifically spot-on impersonations, especially of the comedians. Cory Michael Smith nails the smarmy egotism of Chevy Chase, Matt Wood is often hilarious mimicking John Belushi’s slapstick antics, and Nicholas Braun sounds exactly like Jim Henson while matching that innocence and enthusiasm for what can be accomplished with puppetry.
Unquestionably, those are the three standouts, although everyone here fits their part and makes some sort of impression; Rachel Sennott is outstanding in one of the more dramatic roles as Lorne Michaels’s former significant other yet still supportive, conflicted on what surname to use as her credit. Cooper Hoffman continues to be the spitting image of his father, Philip Seymour Hoffman, delivering a performance that gradually becomes more intense as TV producer Dick Ebersol slowly but surely uses his voice to talk some sense into Lorne Michaels about the reality of the situation and that a contract dispute with Johnny Carson is the only reason his ragtag team of misfit comedians is getting a chance at a live show, and that NBC is hoping they fail in their counterculture experiment.
Despite these mostly tremendous performances (and so many others I haven’t even mentioned, ranging from Willem Dafoe to Dylan O’Brien to J.K. Simmons), Saturday Night doesn’t work. No matter how stylized the filmmakers get with the cinematography (ranging from several tracking shots to whiplash movements attempting to replicate the frantic nature preparing for showtime), it’s artificial and hollow since there is no suspense about how any of this will end. The same goes for some of its more significant subplots, such as whether the crazy and rebellious John Belushi will sell away some control by signing a contract. Anything remotely interesting simply has no time to be interrogated on a deeper, more character-focused level.
It’s also a struggle to say Saturday Night feels natural in its craziness. There are almost certainly layers of exaggeration here, including some out-of-place sentimental moments in the third act when the film should reach the apex of its propulsiveness rather than slowing down. One also can’t help noticing that while the film is comfortable pointing out and picking apart flaws within everyone here, from Chevy Chase to George Carlin, it envisions Lorne Michaels as a heroic genius. Even for someone not well-versed in all things Saturday Night Live like myself, that comes across as dishonest and frustrating.
Admittedly, there are a handful of funny moments and lines here (the horrific things mentioned that have been done to those poor Muppets are not only funny but paint an intriguing contrast between the sensitive Jim Henson and the rest of these edgy personalities), and enough madness and problem-solving going on to remain invested, although not necessarily on edge. Watching these profane minds try and slip innuendos and other content restrictions by a stuffy religious board member is also hilarious while demonstrating how revolutionary and bold the comedy was for its time on a network like NBC.
As an opportunity to gather some new faces and parade them around as legendary figures in comedy, Saturday Night is amusing, with authentic humor and personalities. The film just doesn’t have the urgency it desperately wants.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
