Too Late (2016)
Critic Consensus: Too Late pays homage to its genre inspirations affectionately enough to beg forgiveness for relying on them so heavily.
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as Sampson, Mel Sampson
as Mary Mahler
as Gordy Lyons
as Janet Lyons
as Eleanor Mahler
as as Herself
as Girl on Balcony
as Dead Park Ranger
as Ticket Girl at Drive-In
as Sampson's Imaginary Daughter
as Old Man at Drive-In
as Hotel Bartender
as Sally Jaye's Band (Lead Guitar)
as Sally Jaye's Band (Upright Bass)
as Sally Jaye's Band (Drums)
as Sally Jaye's Band (Violin)
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Critic Reviews for Too Late
With "Too Late," Hauck confirms that he's a master of the film medium. What's less convincing is why this film matters.
A stylized blend of classic film noir and New Hollywood pulp, this remarkable debut feature may grate on mainstream viewers with its affected drama and offbeat pacing, but cinephiles will be charmed.
Almost any scene with Hawkes is alive and satisfyingly showy. You feel his absence when he isn't there, though Joanna Cassidy, Crystal Reed and Robert Forster all have their moments.
The puzzle pieces of Hauck's brain-teaser don't always come together perfectly, but there's no denying it's infectious fun.
While it can be frustrating to see some filmmakers dash off copies of other movies, it's deeply enjoyable to find one who so appreciates his inspirations.
The hyperverbal screenplay quickly grows tiresome, from the sub-"Pulp Fiction" prattle of two drug dealers (Dash Mihok and Rider Strong) to one act after another in which desperate women are preyed upon or saved by the men around them.
Audience Reviews for Too Late
This continously shot mystery is clever and a little too clever for its own good. The slow pace works for me, the film is very well acted and John Hawkes is incredible. The slow burning plot unfolds in pieces and when we learn the truth it has a strong gut punch moment that will linger after the credits roll. The camera technique is a gimmick that doesn't always work but it sets itself apart from films in the genre. I liked this quite like Brick many years before. The talent behind the film will move onto further projects and based on this impressive film, they will have a bright future.
I saw this at the Cleveland International Film Festival. It is perhaps the worst thing I have seen in the many years I've attended this festival and by far the worst thing I've seen screened at the Cleveland Cinematheque. This is Cleveland native Dennis Hauck first feature. He attempts to use the gimmick of five 20-minute uncut scenes to tell his story. He makes multiple references to cheap thrillers like Carnival of Souls from 1962. I was repeatedly reminded by the gratuitous nudity, drugs and violence, fundamentally gratuitous-Tarantino, that this feels like an over-inflated film-student film. The writing and way the actresses were forced to appear topless or obviously braless also reminded me of the trashy The Room by Tommy Wiseau and Fateful Findings by Neil Breen. The film does have John Hawkes as the private investigator in its favor (and probably one of the few reasons it got picked up by festivals). The non-linear plot used to cause disorientation, the at times sloppy camera work, and the mediocre to vapid supporting cast are not saved by some 35mm film purist bull.
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