SATURDAY NIGHT is a film whose indulgence begins with its all-caps title, drawing viewers into the 90-minute countdown to the first-ever broadcast of the now-iconic Saturday Night Live. Set during a time when studio executives were uncertain about the show’s potential—even considering delaying its premiere by a week.
Clearly crafted by die-hard fans of the show, SATURDAY NIGHT features a large ensemble of talented young actors impersonating now-famous comedians, all sharing the spotlight as they navigate the chaotic pre-show hours. At the center is Canadian producer Lorne Michaels (Gabriel LaBelle), who dashes around the studio, ensuring everything is in place. The film attempts to blend styles reminiscent of Birdman (2014), Steve Jobs (2015), and Broadcast News (1987)—all of which are far superior—yet it struggles to find its own voice, why never convincing how much is actually at stake.
The fast-paced format and multitude of characters result in a rushed and underdeveloped narrative that, despite the constant ticking clock, fails to generate any real sense of urgency. For contrast, consider the iconic tape scene from Broadcast News (if you’re not familiar, definitely check it out—you won’t regret it), which builds tension effortlessly with far less. In SATURDAY NIGHT, however, the stakes consistently feel low, even with fires on set, missing actors, and more ideas than the show’s limited duration can accommodate. Ultimately, I never felt that the actual broadcast was in any real danger.
Meaningful character exploration is largely absent, even with the protagonist. While Gabriel LaBelle brings charisma to the role of Michaels, he feels more like a passive observer than an active participant. This isn’t due to any shortcomings on LaBelle’s part—like in The Fabelmans, he proves to be a talented lead. A few standout performances, particularly from Matt Wood and Willem Dafoe, who clearly enjoys his role, help elevate the experience, but they ultimately can’t salvage the overall product. Jon Batiste’s score stands out as a highlight, and his brief appearance adds a fun touch.
The film’s biggest flaw lies in its niche appeal; it’s tailor-made for a specific audience: Americans who grew up watching Saturday Night Live. If you’re neither American nor reading this review shortly after the film’s release, you may find it as confusing and uninteresting as watching Avengers: Endgame without any knowledge of the superheroes. Why is it so important that the show goes live? What was its actual impact? Ironically, the most engaging moments come from the recreations of classic sketches, some of which are genuinely funny. But if those are the highlights, why not just watch the real thing on YouTube?