
Explores the tangled relationship between a troubled private investigator and the missing woman he's hired to help find.... (Full plot summary below)
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Explores the tangled relationship between a troubled private investigator and the missing woman he's hired to help find.
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| San Francisco ChronicleDavid LewisThe puzzle pieces of Hauck's brain-teaser don't always come together perfectly, but there's no denying it's infectious fun. |
| CraveOnlineFred TopelWriter/director Dennis Hauck makes a really impressive debut. |
| The Film StageRaffi AsdourianUndeniably ambitious, Hauck’s debut is a fascinating study of genre homage and cinematic technique that wears its heart on its sleeve, even if it’s not always aware of that fact. |
| Austin American-StatesmanMatt ShiverdeckerToo Late is a throwback to indie films of the 1990s that we don't see often anymore and that alone is enough to recommend it. |
| East Bay ExpressKelly VanceIt's all so random and cheeky that it's a type of perverse fun. |
| AV ClubKatie RifeIf you enjoy strippers delivering monologues on Bugs Bunny — something that actually happens in this movie — then Too Late will scratch that same adolescent itch that leads young film buffs to dress in black suits and Ray-Bans after seeing "Reservoir Dogs" for the first time. |
| TheWrapRobert AbeleFilmed in five long 35mm takes, this murder mystery features a fair amount of cinematic virtuosity, but it’s too self-conscious and uneven to be entirely successful. |
| The New York TimesKen JaworowskiMr. Hauck’s affection is apparent in every frame, yet outside of an occasionally clunky line or show-offy moment (O.K., sometimes it’s more occasional than just occasionally), he rarely allows it to alter his aim. That aim is to make a modern noir. That aim is true. |
| Village VoiceMichael NordineLike the hardboiled detectives of yore, Too Late ultimately gets the job done — even if it's in its own off-the-books way. |
| The Stranger (Seattle, WA)Kathy FennessyAgainst all odds, first-time feature director Dennis Hauck has made a film that's as gimmicky as hell-shot on 35 mm in five unbroken 20-minute takes-and yet it becomes more involving as it goes along. |