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Too Late
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Too Late

Description
A private investigator (John Hawkes) scours the streets of Los Angeles to track down a missing woman (Crystal Reed) from his past. He then finds himself tangled up in sleazy scandal involving strip clubs, petty drug pushers, and missing girls.
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Too Late
CRITICS OF "Too Late"
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Austin American-Statesman
Resource

August 11, 2016

Too 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.
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Seattle Times
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April 14, 2016

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.
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San Francisco Chronicle
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April 07, 2016

The puzzle pieces of Hauck's brain-teaser don't always come together perfectly, but there's no denying it's infectious fun.
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Boston Globe
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May 05, 2016

With "Too Late," Hauck confirms that he's a master of the film medium. What's less convincing is why this film matters.
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New York Times
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March 31, 2016

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.
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Examiner.com
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April 28, 2016

John Hawkes is immaculate as Sampson as Too Late effectively injects the viewer into a fictional reality that feels genuine and is the one place on earth where cigarette smoking sleuthing in a tattered Thunderbird is as cool as it gets.
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Georgia Straight
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April 28, 2016

This thing is mildly tasty, but no one will say it's organic.
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East Bay Express

April 29, 2016

It's all so random and cheeky that it's a type of perverse fun.
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Salt Lake Tribune
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May 12, 2016

Dennis Hauck's noir drama Too Late works better as a stylistic exercise than as absorbing drama, though a soulful performance by John Hawkes carries it pretty far.
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We Got This Covered
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April 27, 2016

It might get a little smug and a wee bit pretentious, but Too Late is never less than impressive.
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Chicago Reader
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April 21, 2016

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.
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New York Post
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March 31, 2016

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.
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