6.7/10
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19 user 50 critic

Too Late (2015)

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Explores the tangled relationship between a troubled private investigator and the missing woman he's hired to help find.

Director:

Dennis Hauck

Writer:

Dennis Hauck
1 win & 3 nominations. See more awards »

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Cast

Credited cast:
Dichen Lachman ... Jill
Crystal Reed ... Dorothy Mahler
Natalie Zea ... Mary Mahler
Jeff Fahey ... Roger
Joanna Cassidy ... Eleanor Mahler
John Hawkes ... Samson
Robert Forster ... Gordy Lyons
Sydney Tamiia Poitier ... Veronica
Rider Strong ... Matthew
Dash Mihok ... Jesse
Helen Sadler ... Actress
Vail Bloom ... Janet Lyons
David Yow ... Arthur
Vanessa Sheri ... Stripper
Aly Trasher ... Giddyup Girl
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Storyline

Explores the tangled relationship between a troubled private investigator and the missing woman he's hired to help find.

Plot Summary | Add Synopsis


Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

April 2016 (USA) See more »

Also Known As:

Cлишком поздно See more »

Filming Locations:

Los Angeles, California, USA See more »

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Box Office

Opening Weekend USA:

$7,000, 20 March 2016, Limited Release

Gross USA:

$60,438, 19 May 2016
See more on IMDbPro »

Company Credits

Production Co:

Foe Killer Films See more »
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Technical Specs

Runtime:

Color:

Color

Aspect Ratio:

2.39 : 1
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Did You Know?

Trivia

Each of the scenes was shot in a single take on a single 2000 foot 35mm film reel. See more »

Connections

References Don't Tell Mom the Babysitter's Dead (1991) See more »

Soundtracks

We All Make The Flowers Grow
Written & Performed by Lee Hazlewood
Published by Criterion Music Corp o/b/o Mother Texas Music (ASCAP)
Courtesy of Light In The Attic Records and Burton Lee Hazlewood Separate Property Trust
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User Reviews

Neo-Noir, Neo-Bogey, Nice.
22 April 2016 | by jdesandoSee all my reviews

"I didn't know I was doing film noir, I thought they were detective stories with low lighting!" Marie Windsor

I have a neo-noir you can't refuse: Too Late. For a title vibrating with despair like that of The Big Sleep, In a Lonely Place, The Long Goodbye, and A Touch of Evil, Too Late reeks of a dark, desperate, disorienting world where a soulful and soulless private detective named Mel Sampson (John Hawkes) searches for meaning among L.A.'s damned passengers. Many of those souls are dames, femme fatals if you will, beautiful in a cheap way but deeper emotionally than you'd expect and fraught with danger for anyone who cares about them.

Shot in 35 mm Techniscope or 2-perf with five 20-minute uncut chapters, Too Late is bound to be a classic take on the detective genre memorable for such hard-boiled shamuses as Philip Marlowe and Sam Spade. References to directors like Alan Rudolph and Robert Altman, not to mention Quentin Tarantino, certify first-time feature writer and director Dennis Hauck's goal to participate in the pleasantly depressive genre.

Tired detective Sampson searches for a pretty young stripper, Dorothy (Crystal Reed). and eventually her murderer, now and then showing his long hair and strength but just as vulnerable as his biblical name suggests. As for her, well, dare I speculate she was searching for some rainbow's end? She was witty and vulnerable, "lost" in Elysian Park's Radio Hill of Los Angeles while encountering two drug-dealing thugs (Dash Mihok, Rider Strong) and a garrulous park ranger (Brett Jacobsen), all of whom could have as easily played in Pulp Fiction given their penchant for witty talk laced with cinematic references.

Just as memorable and just as noir-naughty are Robert Forster's wealthy strip-club owner, Gordy Lyons; his dangerously desperate wife, Janet (Vail Bloom); and Dorothy's former stripper grandmother, played by Joanna Cassidy, who appeared in the cult classic Don't Tell Mom the Babysitter's Dead, referenced here no doubt to geeks' glee.

Although I've not mentioned much plot in this review, you get the idea that various fringey L. A. lost-soul types are the interest in this noir homage, at least to my nostalgic, crime-porned, cinema-drenched sensibility.

"One difference between film noir and more straightforward crime pictures is that noir is more open to human flaws and likes to embed them in twisty plot lines." Roger Ebert


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