Review: Saturday Night
The Revolution Begins At 11:30
INTRODUCTION
This is a quick review of the newly released film Saturday Night. Keep in mind this is but one of the many movies I watch every year, and that whatever initial grade I come up for this film could change for better or worse with time. To better keep up to date with both my thoughts on other movies and if my feelings on this film changed, follow me on Letterboxd.
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THE PLOT
Via Letterboxd: At 11:30pm on October 11th, 1975, a ferocious troupe of young comedians and writers changed television forever. This is the story of what happened behind the scenes in the 90 minutes leading up to the first broadcast of Saturday Night Live.
QUICK REVIEW
This season marks the 50th anniversary for Saturday Night Live, and fittingly, we get Saturday Night, a film that explores the moments leading up to the first broadcast of the iconic live show. Directed by Jason Reitman and featuring an ensemble cast of rising stars, the film masterfully blends tension, highlighting the countdown to the show’s debut, with humor rooted in the wild, true stories surrounding that historic night.
There’s been significant buzz about Saturday Night being a potential Best Picture contender at the upcoming 97th Academy Awards. As of this writing, it remains in contention, though the journey has been mixed. While both critical and audience reviews have been solid, the film has hit a few bumps in the road; like a surprising snub at TIFF for its audience award placing and a less-than-stellar box office performance. After Hurricane Milton delayed my viewing, and with no early screening provided by the studio, I finally got the chance to see it - on a Saturday night, fittingly enough.
Let me start by saying, I really enjoyed this film overall.
The ensemble cast shines. Gabriel LaBelle once again proves he has leading-man potential (as he did in The Fabelmans), and Cooper Hoffman continues to carve out a space for himself as a formidable actor (building on his success in Licorice Pizza). Rachel Sennott showcases more dramatic range than I’ve seen from her in previous roles, while Cory Michael Smith steals the show during his scenes as Chevy Chase. Meanwhile, Willem Dafoe is pitch-perfect as an intimidating corporate figure.
The score, composed by Jon Batiste, stands out as one of my favorites this year, incorporating jazz elements that perfectly capture the frenetic energy of the night while subtly underscoring the tension in the air. The editing is superb, some of the best of the year; and the cinematography nails the mid-seventies aesthetic. The screenplay is sharp, with dialogue worthy of award consideration.
That said, I didn’t love the movie as much as I had hoped I would.
The film doesn’t delve deeply enough into the real-life characters it portrays. While the tension and chaos are engaging at times, the uneven balance between those moments and the comedy can be jarring. A few jokes fell flat for me. A lot of the ladies feel more like background players compared to the men which is something that stuck out like a sore thumb for me. Additionally, I was uncomfortable with how the script mocked and stereotyped Jim Henson, in a way that reminded me of the negative portrayal of Bruce Lee in Once Upon a Time in Hollywood, a movie I love but a portrayal of an iconic legend that I loathe aside from the rest of that film.
In the end, I really enjoyed Saturday Night, but it didn’t grip me in a way that left me eager to rewatch it immediately. I suspect it’s a film that many will like more than love. I give Saturday Night a solid B+. It’s a great film, I liked it a lot more than most films I’ve seen this year, but it doesn’t quite live up to the awards buzz for me. Maybe a rewatch will make me join the Oscar buzz?
INITIAL GRADING
