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Saturday Night Review

Cast: Gabriel LaBelle, Rachel Sennott, Cory Michael Smith,Ella Hunt, Dylan O’Brien, Emily Fairn, Matt Wood, Lamorne Morris, Kim Matula, Finn Wolfhard, Nicholas Braun, Cooper Hoffman, Andrew Barth Feldman, Kaia Gerber, Tommy Dewey, Willem Dafoe, Matthew Rhys, J.K. Simmons

Genre: Comedy, Drama

Director: Jason Reitman

In Irish Cinemas: 31st January 2025

 

Set against the frenzied backdrop of the final 90 minutes before the inaugural episode of Saturday Night Live, the film attempts to capture the energy, uncertainty, and creative chaos that defined that historic evening. That first broadcast, which aired nearly five decades ago, would revolutionise sketch comedy and launch one of television’s most enduring institutions—a show that remarkably continues to this day. The film introduces us to the key players who were there on October 11, 1975 (not 1974), including a young and ambitious Lorne Michaels (played by Gabriel LaBelle), along with the pioneering original cast members: John Belushi (Matt Wood), Chevy Chase (Cory Michael Smith), Garrett Morris (Lamorne Morris), Gilda Radner (Ella Hunt), Jane Curtin (Kim Matula), Laraine Newman (Emily Fairn), and Dan Aykroyd (Dylan O’Brien), among others. The ensemble is stacked with talent, yet despite the film’s intriguing premise and attempt to bottle that fateful night’s electric atmosphere, it never delivers the expected magic.

This film boasts a strong cast, with most performers convincingly embodying their real-life counterparts—particularly O’Brien, who stands out in appearance and mannerisms. At times, they manage to channel the essence of the original SNL icons they portray. However, because the movie unfolds as a real-time recreation of events leading up to the historic first broadcast, it often feels like we’re watching hazy reflections rather than fully realised performances—especially when it comes to larger-than-life figures like John Belushi.

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The premise—a 90-minute build-up to the first live SNL episode—is undeniably clever and full of potential. Unfortunately, much of the execution feels contrived and artificial. There’s a palpable attempt to create a fast-paced, high-energy atmosphere reminiscent of Aaron Sorkin’s signature style, but the result is uneven. The tension never quite reaches the level one might expect from such a high-stakes moment in television history, leaving the film feeling less urgent than it should.

Another issue is the way Saturday Night chooses to depict some of its key figures. While it’s no secret that the early SNL days were rife with drama, conflict, and bad behaviour, the film leans heavily into the darker, more cynical aspects of these personalities, often at the expense of a more balanced portrayal. For example, the smug, abrasive depiction of Chevy Chase isn’t particularly shocking given his well-documented reputation. Still, the film’s broader tendency to paint its legends in an overly negative or mean-spirited light feels excessive.

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This is particularly evident in its portrayal of figures like Jim Henson, who is inexplicably depicted as a stiff, socially awkward nerd. This interpretation feels disingenuous after the nuanced and affectionate portrait in the recent documentary Jim Henson: Idea Man. Similarly, Milton Berle is shown as a borderline mobster type—arrogant, domineering, and humourless. While Berle was sometimes known to be difficult, he was also a beloved pioneer of television comedy, and the film largely ignores that aspect of his persona. That said, J.K. Simmons delivers a highly entertaining, if somewhat exaggerated, performance in the role.

Despite its flaws, Saturday Night isn’t without its charms. Reitman, Kenan, and their team deserve credit for maintaining a brisk pace and keeping the runtime under two hours, ensuring the film never overstays its welcome.

Overall: 7/10

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