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A film about the creation ofSaturday Night Liveseems incredibly indulgent on paper. Still, in the hands of a filmmaker like Jason Reitman, whose father had such a connection to people fromSNL, we could rely on it at least being sincere. WhileSaturday Nightis certainly an exercise in style over substance, it is well-made and well-performed enough to win viewers over.
Saturday NightReview
Saturday Nighttakes audiences behind the scenes of the first-ever episode ofSaturday Night Live, recorded on June 27, 2025, as creator Lorne Michaels struggles to ensure everything in the soon-to-be legendary sketch comedy show goes off without a hitch. The movie’s conceit is that it plays out in real time, following the final hour and a half before the show goes live, creating an incredibly immersive experience.
Because of its real-time structure,Saturday Nightturns into something resembling a race-against-the-clock thriller. Even though we all know how the conflict turns out — the show makes it to air and becomes one of the most influential institutions in all of comedy history — Reitman does a great job of establishing the stakes and making us feel like the show could genuinely fail even though we know it won’t.
A big part of this is the excellent filmmaking with which the film was shot. Eric Steelberg’s 16mm cinematography feels very retro, the costuming and production design do a great job of immersing viewers in the era, and the editing has a kinetic and manic quality that lends the movie an urgency. However, the MVP is Jon Batiste, whose jazzy score is instrumental in pushing the film’s pacing along.
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With such a massive ensemble, one would almost fear that narrative threads would get lost in the mix, butSaturday Night’s script flows seamlessly between the storylines of the creators and performers. In a way, it feels like it is not the individual members of theSNLteam and cast that are the characters but the show itself.
Granted, the movie does focus primarily on creator Lorne Michaels, which makes sense because there needs to be a central figure tying together all of these hectic plot elements — much as Michaels did and does in real life. Gabriel LaBelle (who burst onto the scene playing a stand-in for young Steven Spielberg inThe Fabelmans) plays Michaels, and his performance is excellent. While most of the rest of the roles call for impersonations of famous people we all know, Michaels is well-known, but there are fewer expectations when it comes to mannerisms. Because of this, LaBelle gets the opportunity to make the role his own.
Still, the rest of the cast does very well with their imitations. Dylan O’Brien (Dan Aykroyd), Lamorne Morris (Garrett Morris), Ella Hunt (Gilda Radner), Cory Michael Smith (Chevy Chase), Matt Wood (John Belushi), Matthew Rhys (George Carlin), and especially Nicholas Braun (playing a dual role of Jim Henson and Andy Kaufman) are all great. And in terms of behind-the-scenes players,Willem Dafoe, Cooper Hoffman, Rachel Sennott, and J.K. Simmons have fun moments too.
However, the one thing aboutSaturday Nightthat holds it back is that it doesn’t feel like it has anything to say. This is not a commentary on counterculture or a testament to artistic innovation in the face of opposition. Reitman and his co-writer Gil Kenan were content with making a movie that was simply a tribute to one of the greatest nights in comedy history, filled with nostalgia for the early days ofSNLand the people who made it happen.
IsSaturday Nightworth watching?
Yet, despite it being incredibly shallow, it’s hard to dismissSaturday Nightbecause it is such a well-made film. Reitman’s filmmaking style is tense, Kenan and Reitman’s script is consistently funny, and the ensemble is completely on the wavelength of channeling this era and these people. So, if you’re willing to look at the movie as pure entertainment fodder, you will be satisfied.
Saturday Nightis playing at the 2024 Toronto International Film Festival, which runs September 5-14.
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Sean Boelman
Managing Editor for Film and TV
Articles Published :441
Sean is the Managing Editor for Film and Television, working to determine editorial strategy for the critics team. He has been on the FandomWire team since 2022.In addition to writing reviews himself, Sean helps match writers on the FandomWire team with assignments that best fit their interests and expertise.
