Fred Armisen Archives – CULTURE MIX

Review: ‘Clerks III,’ starring Brian O’Halloran, Jeff Anderson, Trevor Fehrman, Austin Zajur, Jason Mewes, Rosario Dawson and Kevin Smith

September 16, 2022

by Carla Hay

Jeff Anderson, Brian O’Halloran, Kevin Smith, Austin Zajur and Trevor Fehrman in “Clerks III” (Photo courtesy of Lionsgate)

Directed by Kevin Smith

Culture Representation: Taking place in Leonardo, New Jersey, the comedy film “Clerks III” features a predominantly white cast of characters (with some African Americans, Asians and Latinos) representing the working-class and middle-class.

Culture Clash: The misfits and eccentrics of the “Clerks” movies have returned—and this time, they’re making a biographical movie about the guy who’s the biggest screwup in the group.

Culture Audience: “Clerks III” will appeal primarily to people who are fans of the previous “Clerks” movies and filmmaker Kevin Smith, because those are the viewers who are most likely to understand a lot of the jokes in “Clerks III.”

Jason Mewes and Kevin Smith in “Clerks III” (Photo courtesy of Lionsgate)

“Clerks III” is best enjoyed by people who’ve seen or know about the first two “Clerks” movies. “Clerks III” relies heavily on jokes from previous “Clerks” movies. Therefore, some of the comedy is too repetitive. However, the movie’s zany attitude should please fans of a comedy film that can easily laugh at itself.

Kevin Smith wrote and directed 1994’s “Clerks” (still the best in the series), 2006’s “Clerks II” and 2022’s “Clerks III.” He plays on-again/off-again drug dealer Silent Bob in all three movies, which feature Silent Bob and his buffoonish partner in crime Jay (played by Jason Mewes, who is a longtime, close friend of Smith in real life). All three movies (which take place in Leonardo, New Jersey) revolve around eccentric and goofy clerks who work at small, quick-service stores in an outdoor shopping strip mall.

The two main clerks who are at the center of each movie are best friends Dante Hicks (played by Brian O’Halloran) and Randal Graves (played by Jeff Anderson), who are a stereotypical comedy “odd couple.” Dante is the more serious and “responsible” one of this duo. Randal is the one who’s more impulsive and more likely to make a mess of things. The biggest thing that Dante and Randal have in common is their passion for pop culture, especially anything that would attract a typical Comic-Con attendee.

In the first “Clerks” movie, Dante worked at the convenience store Quick Stop Groceries, which was next door to RST Video, where Randal worked. In “Clerks II,” Dante was the owner of Quick Stop, but Randal accidentally burned down the store after leaving a percolating pot of coffee unattended. The fire also destroyed RST Video, so Dante and Randal took jobs at a fast food restaurant called Mooby’s, where they worked with a teenager named Elias Grover (played by Trevor Fehrman) and Mooby’s manager Rebecca “Becky” Scott (played by Rosario Dawson).

In “Clerks III,” Dante and Randal are still bachelors working at low-paying jobs. Dante is once again the owner and operator of Quick Stop, which is right next door to RST Video, which now has a makeshift sign advertising that it now sells THC products. (In 2021, selling and using marijuana recreationally became legal in New Jersey.) Elias (with Fehrman reprising his role), who is a frequent customer of Quick Stop, has grown up to be a religious fanatic who can’t decide if he wants to be a devout Christian or a devout Satanist.

Becky died in 2006, at the age of 33. Dante, who was romantically involved with Becky in “Clerks II,” is still grieving over her death. Dante sees visions of Becky (with Dawson reprising her role) intermittently throughout “Clerks III,” where Becky imparts words of wisdom to Dante when he’s feeling down. Dante, who is now in his 50s, is battling with having a mid-life crisis, because he feels like he should have accomplished more with his life by now.

In addition to all of these returning characters, “Clerks III” introduces the new character Blockchain Coltrane (played by Austin Zajur), who is Elias’ mostly mute sidekick. Randal quips about Blockchain Coltrane: “It looks like Elias has got his own Silent Bob.” Elias is fixated on the idea of selling kites with the image of Jesus Christ on the kites. Elias thinks that that these kites will be a hit with the public. Dante is very skeptical and reluctant to sell any of these kites in the store.

There are some nods to the first “Clerks” movie in “Clerks III,” such as the opening scene where Dante arrives at Quick Stop to start work for the day, and he scrapes gum off of the front-door lock. (This “gum on a lock” plot device is a significant catalyst for the story in “Clerks.”) In “Clerks III,” there’s also an early scene where Dante, Randal and about six other men play hockey on the roof of Quick Stop, instead of working during the store’s opening hours, as confused and impatient customers line up to get into the store. It’s a reference to a similar scene in the first “Clerks” movie where Randal and Dante goofed off on the store roof instead of working.

The slacker characters of the first “Clerks” movie might be much older now, but it doesn’t mean that they’re much wiser. A lot of the comedy is about all the doltish things that the guys say and do. Any women in the movie mainly serve as foils for some of these shenanigans.

And you know what that means: Becky isn’t the only ex-girlfriend of Dante’s who shows up in “Clerks III.” Dante’s former fiancée Emma Bunting (played by Jennifer Schwalbach Smith), who was in “Clerks II,” makes an appearance. Veronica “Ronnie” Loughran (played by Marilyn Ghigliotti) from the first “Clerks” movie also has a small supporting role in “Clerks III.” Past grudges affect what happens between these characters. Viewers should really know the backstories of these characters in order to understand lot of the jokes.

The main story in “Clerks III” is that Randal has a heart attack, which leads him to rethink his life and what kind of legacy he wants to leave. He comes up with the idea of doing a movie about his life, which he will write and direct and star in, as himself. Randal thinks he’s qualfiied to direct his first movie because he’s watched a lot of movies. Silent Bob, who is hired to be the cinematographer of Randal’s movie, breaks his silence in a hilarious meta monologue referencing the first “Clerks” movie and why it was filmed in black and white.

Of course, Randal being Randal, all sorts of mishaps and mayhem occur during this movie shoot, which Randal wants to film mainly at Quick Stop. Dante starts to feel alienated by Randal acting like an egotistical director. Dante also feels like he’s being sidelined in the movie’s script. And all of the other characters get involved with their own agendas.

“Clerks III” has very much a vibe of, “The gang’s all back together, and let’s put a lot of famous people in this movie too.” There are numerous celebrity cameos in “Clerks III,” including Ben Affleck, Amy Sedaris, Justin Long, Danny Trejo, Fred Armisen, Sarah Michelle Gellar, Freddie Prinze Jr., Michelle Buteau and Anthony Michael Hall. No one does a terrible acting performance in the movie, but no one is particularly outstanding either.

One of the charms of the first “Clerks” movie is that it was obviously made by people who had no idea that the film would become a cult classic and launch the career of Smith. “Clerks III” has a little too much self-awareness for its own good. There’s a lot of fan servicing in “Clerks III” that won’t sit very well with people who have no knowledge of the first two “Clerks” movies. However, if people have enough knowledge of pop culture, they should gets some laughs out of “Clerks III,” which sometimes overloads on mentioning trendy things from the early 2020s that that will inevitably become very outdated.

What saves “Clerks III” from being an annoying rehash of the first two “Clerks” movies is the way the movie ends. Some people might be expecting this ending, because it’s an ending that Smith has talked about before in interviews. Other viewers might be caught off guard by the movie’s final scenes. This ending gives “Clerks III” an emotional substance that viewers will remember much more than the movie’s many trash-talking, throwaway jokes.

Lionsgate and Fathom Events are releasing “Clerks III” in select U.S. cinemas for a limited engagement from September 13 to September 18, 2022.

Review: ‘How It Ends’ (2021), starring Zoe Lister-Jones and Cailee Spaeny

July 21, 2021

by Carla Hay

Zoe Lister-Jones and Cailee Spaeny in “How It Ends” (Photo courtesy of MGM/American International Pictures)

“How It Ends” (2021)

Directed by Zoe Lister-Jones and Daryl Wein

Culture Representation: Taking place in Los Angeles, the comedy film “How It Ends” features a predominantly white cast of characters (with a few African Americans and Asians) representing the middle-class.

Culture Clash: Hours before an impending apocalypse, a woman in her 30s sees a physical manifestation of her 15-year-old self, and together they visit people they know to say their goodbyes in case they don’t survive the apocalypse.

Culture Audience: “How It Ends” will appeal primarily to people who are interested in “mumblecore” comedies that are self-consciously quirky in a way that will annoy some viewers.

The smugly oddball “How It Ends” looks and sounds like it could have been a pilot episode for a mumblecore sitcom rather than a compelling cinematic experience. In this time-wasting apocalyptic comedy, the end of the world is depicted as Los Angeles hipsters and weirdos acting as annoying as possible and thinking that they’re hilarious. You can see that on Hollywood Boulevard for free. You don’t need to pay money to see that in a movie as dull as this one.

Husband-and-wife duo Zoe Lister-Jones and Daryl Wein wrote and directed “How It Ends,” and it looks exactly like what it is: A movie that was rushed into production during the pre-vaccine COVID-19 pandemic, just so the filmmakers could brag about how they braved the pandemic to make this movie. Unfortunately, not enough time seems to have been spent on developing an interesting story for this repetitive and mostly empty-headed film.

“How It Ends” takes place in Los Angeles, just hours before an apocalypse is supposed to destroy the world. It’s never explained how people know the exact hour that this apocalypse is going to hit. But the characters in this movie are just way too calm about it, and they go about their lives as if it’s just another sunny day in California.

At least half of this movie just shows the two main characters walking from house to house, as they say goodbye to friends and assorted loved ones before the end of the world happens. Expect to see repetitive shots of people sauntering down a street as if they’re just out for a pleasant stroll before the apocalypse. And everyone they talk to just happens to be “quirky.”

The two main characters in the story are supposed to be the same person at different stages in her life. The movie opens with protagonist Liza (played by Lister-Jones), who’s in her 30s and with an unknown occupation, in her home on the morning before the apocalypse. There’s a teenage girl (played by Cailee Spaeny) jumping up and down on Liza’s bed.

Liza checks her voice messages and finds out that her friend Mandy (played by Whitney Cummings) has invited Liza to an end-of-the-world party happening that night. Liza tells the teenage girl, “Tonight, I want to get really fucking high and eat ’til I puke.” The girl in Liza’s house replies, “I can list so many problems with that idea. The first is: You’re out of weed.”

Who is this girl? Liza finds out this other person in her home is her 15-year-old self. Liza might want to roll on Ecstasy to get high, but the only thing rolling during this movie will be viewers’ eyes at the self-consciously twee absurdity of it all. Guess who’s hanging out with Liza for the whole movie? Young Liza, who’s somehow wiser and more emotionally intuitive than the older Liza.

It’s explained in the movie that Young Liza can only be seen on the last day before the apocalypse happens. And based on the advice that Young Liza gives her older self, Young Liza is supposed to embody hindsight. Young Liza also doesn’t have the emotional baggage that older Liza has, so she’s able to see things more clearly when it comes to unresolved issues in older Liza’s life.

Before Liza and her younger self go to the party, they decide to visit a series of people to say their final goodbyes. A lot of these half-baked scenes (many of them look improvised) are just filler. There are long stretches of the movie where it’s nothing but Liza and her younger self walking from place to place and encountering goofy, strange and usually very irritating people.

Wait, doesn’t everyone drive in Los Angeles if they can afford it? The movie comes up with a reason for why Liza and her teenage mini-me end up walking everywhere for more than half the movie: Liza’s car has been stolen. It’s the end of the world, so there’s no point in reporting the theft to the police. Will Liza get her car back though? That question is answered in the movie.

Most of the people whom Liza and her young self visit are the type of characters you would expect in a low-budget indie flick where the filmmakers think that it’s automatically supposed to be funny to see adults acting like immature kooks. There are the wacky neighbors in different homes, such as Derek (played by Bobby Lee), who’s a babbling stoner; Manny (played by Fred Armisen), a forgetful eccentric; and anxious Dave (played by Paul Scheer), who gets yelled at by another neighbor for not washing his recycling container.

And then there are a few people randomly performing in the middle of the street or on a sidewalk in this residential area, including a nameless stand-up comedian (played by Ayo Edebiri), who’s actually one of the few highlights of the film. Real-life singer Sharon Van Etten shows up toward the end of the film as a folksy singer named Jet, who plays acoustic guitar in the street to an enthralled audience of two: Liza and her younger self.

“How It Ends” desperately wants to be a uniquely modern film, but it uses the oldest and most cliché trope in a comedy starring a woman: She’s pining over a man because she wants him to be her romantic partner. In Liza’s case, “the one who got away” is Nate (played by Logan Marshall-Green), a former hookup whom she has deeper feelings for than she was willing to admit when he was in her life and when she emotionally pushed him away. Liza regrets shutting Nate out of her life, and she wants to see Nate again so she can tell him that she loves him before the end of the world happens.

Liza also has some unfinished business with her divorced parents Kenny (played by Bradley Whitford) and Lucinda (played by Helen Hunt), as well as her ex-boyfriend Larry (played by Lamorne Morris), who cheated on her when they were together. Liza visits all of them during this movie to tell them how she really feels. Viewers find out that she has major abandonment issues and has had a problem communicating her true feelings to the people who are closest to her.

But the best and funniest encounter that Liza has is with an estranged friend named Alay (played by Olivia Wilde), who’s just as neurotic as Liza is. Liza and Alay have a rapid-fire conversation where they talk over each other about what went wrong in their friendship (they fell out because Alay didn’t approve of Larry), and they call a truce—because of, you know, the apocalypse.

Alay eats a very decadent-looking cake during this conversation and says she’s a psychic. What does she see in Liza’s afterlife future? Alay says, “Timothée Chalamet and lots of dairy with no consequences.” Sounds like heaven for a lot of people.

If only “How It Ends” had more of this type of laugh-out-loud comedic scene with Wilde and Lister-Jones, because they have such natural and appealing chemistry with each other. Maybe they can co-star in another movie someday. Hopefully, it would have a better screenplay and more exciting direction than what’s in “How It Ends.”

But for every scene like the rip-roaring one with Wilde, there are five or six more scenes in “How It Ends” that are just so tedious and downright cringeworthy. For example, when Liza goes to her ex-boyfriend Larry’s home, it’s a retro ripoff with derivative ideas: She holds up a boombox (just like John Cusack famously did in the 1989 movie “Say Anything”), and then she quotes the chorus of Alanis Morissette’s 1995 hit “You Oughta Know.”

And there’s some self-pitying drivel, such as when Liza and her younger self have an argument with each other. Liza wants to ditch her younger self and continue on her own, because she thinks Young Liza doesn’t count as her real self. Young Liza shouts, “I do count! All your life, you’ve been licking your fucking wounds, when I’m the biggest wound of all!” Oh, boo hoo. Did anyone bring any tissues?

Lister-Jones and Spaeny previously worked together in the disappointing 2020 horror film “The Craft: Legacy,” which was written and directed by Lister-Jones and starred Spaeny as a teenage witch who joins a coven of other teen witches. The chemistry between Lister-Jones and Spaeny in “How It Ends” is more like older sister/younger sister as two different people, rather than entirely convincing as two versions of the same person. One of the takeaways from the movie is that Liza looks physically older than her younger self, but she hasn’t emotionally matured very much since she was a teenager.

Spaeny makes some attempt to mimic certain mannerisms that older Liza would have had in her teen years. And there are times that Liza and her younger self do things in snyc when they’re walking down the street. However, the movie looks like it was filmed so quickly that Spaeny and Lister-Jones didn’t have enough time to do work on body language and speech patterns that are more subtle and nuanced.

“How It Ends” is not so off-putting that it won’t find its share of people who will love this movie. There’s a very specific type of viewer who automatically thinks any movie that reeks of being self-congratulatory “quirky” is something that’s worth admiring. But for people who prefer their comedies to actually be funny and have a significant plot, you’ll have to look elsewhere, because “How It Ends” comes up very short in these elements and is mostly just a series of poorly conceived vignettes.

MGM’s American International Pictures released “How It Ends” in select U.S. cinemas, on digital and VOD on July 20, 2021.

Review: ‘Too Late’ (2021), starring Alyssa Limperis, Ron Lynch, Will Weldon, Mary Lynn Rajskub and Fred Armisen

July 17, 2021

by Carla Hay

Ron Lynch and Alyssa Limperis in “Too Late” (Photo courtesy of Gravitas Ventures)

“Too Late” (2021)

Directed by D.W. Thomas

Culture Representation: Taking place in Los Angeles, the horror comedy film “Too Late” features a predominantly white cast of characters (with a few African Americans) representing the middle-class and working-class.

Culture Clash: A stand-up comedy booker has a cannibal monster for a boss, and her secret job is to find comedians for him to eat.

Culture Audience: “Too Late” will appeal primarily to people who don’t mind watching boring, low-quality comedies that aren’t funny.

Alyssa Limperis and Will Weldon in “Too Late” (Photo courtesy of Gravitas Ventures)

The only thing scary about the horror comedy “Too Late” is that people thought this painfully unfunny dud was good enough to make into a movie. The plot is ridiculous, even by lowbrow standards, and not even the presence of some fairly well-known cast members can save this awkward mess of a film. “Too Late” is the first feature film from director D.W. Thomas and writer Tom Becker, who both have extensive backgrounds as film editors. This movie is proof that having experience in one area of filmmaking doesn’t automatically make people skilled in other areas.

“Too Late” (an 80-minute movie that feel like longer because of the sluggish pacing) has a group of actors who seem to be trying their best to salvage this horrendous movie, but there’s only so much they can do when they’ve been given such cringeworthy dialogue to say. The movie is set in the Los Angeles stand-up comedy scene, but there isn’t one single comedian in this movie who is genuinely funny. There’s also a tiresome runnng gag in the film where the chief villain keeps saying that comedians aren’t real people.

Unfortunately, there’s too much interruption of the main story with several cutaways to very amateurish and mediocre-to-bad stand-up comedy routines on stage, from people making cameos that have nothing to do with the main story. It’s appalling, low-quality work from “Too Late” director Thomas, who also edited this movie. As someone with a film editing background, she should know better than to have these choppy and distracting edits in the first feature film that she’s directed.

However, it’s not as if the main story of “Too Late” is all that compelling. It’s downright dumb. The gist of the main plot is that an overworked and underappreciated stand-up comedy booker/assistant named Violet Fields (played by Alyssa Limperis) has a tyrant boss named Bob Devore (played by Ron Lynch), and they both have a secret: Bob is really a cannibal monster, and Violet’s real job with him is to book stand-up comedians so that Bob can kill and eat them. He eats them whole, so their bodies aren’t found.

Violet is afraid to quit because Bob has told her that he’ll kill her if she quits. At one point in the movie, Bob ominously says to Violet, “Violet would never leave me, would you Violet? … In fact, you would probably die without me.” Bob also keeps telling Violet, as if he’s some kind of cannibal self-help guru: “Life’s too short.”

The plot of “Too Late” immediately raises questions that the movie never bothers answering. Wouldn’t it be obvious for the police to figure out that the missing stand-up comedians all worked for Bob, thereby making him a person of interest? Even though several people are murdered in the movie, there are no police investigations. And why should viewers root for Violet, who’s an accomplice to murder?

According to what’s said in the movie, she’s been working with Bob for several years, which makes Violet even more despicable for participating in and covering up these murders over such a long period of time. Violet has a housemate friend named Belinda (played by Jenny Zigrino), who keeps telling Violet that Violet should quit working for Bob, but Violet ignores this advice. Violet’s work as Bob’s assistant requires her to be at his constant beck and call. It’s taken a toll on Violet’s love life, which Belinda calls “a drought.”

Belinda comments to Violet about Bob: “He’s never going to let you go!” Violet responds, “I feel like I’m on an island. I feel like there’s a million bridges off of it, but every single one burns the second I try to leave.” You know it’s a bad comedy when the lines that are supposed to be funny aren’t funny, and the lines that are supposed to be serious might unintentionally make people laugh because they’re so cheesy.

Bob is the promoter of a stand-up comedy series called Too Late, which is held at a small theater called The Hayworth. It’s supposed to be one of the hottest comedy promotions in Los Angeles. Well, apparently not, because comedians can get murdered by Bob shortly after they’re booked to perform at Too Late. And no one in this silly movie figures it out, so people keep getting murdered.

Meanwhile, Violet books her own stand-up comedy series at a tiny coffee shop. It’s here that she meets an obnoxious aspiring stand-up comedian named Dax Hanlan (played by Billy Breed), who says he’s originally from Boston. Dax sidles up to Violet as she’s watching a comedian on stage and tries to flirt with her. Once he finds out that she’s the booker for Too Late, he tries to weasel his way into getting her to book him.

Violet is cold and dismissive when she repeatedly tells Dax that he can apply on the Too Late website. He won’t take the hint and still desperately tries to get Violet to pay attention to him. Finally, Violet tells Dax that it’s not a good idea to alienate the person who’ll decide whether or not he’ll be booked at Too Late. As she walks away, Dax mutters underneath his breath, “Stuck-up bitch.” Violet doesn’t hear him say this derogatory comment, but it’s at this point in the movie that you know that Dax is going to be an upcoming meal for Bob.

The comedians whom Violet books and sometimes hangs out with are very untalented and have shallow personalities. The worst is David Zeller (played by Jack De Sena), who’s the type of loser who throws a costume party with a mass suicide theme, so people come dressed to the party as cult members. Yes, this heinous movie tries to make mass suicides a comedic plot gimmick.

David hasn’t gotten on Violet’s bad side, so she’s decided she’s not going to feed him to Bob. Is that supposed to make her look classy? During the course of the story, Violet makes promises to some other comedians to book them for Too Late: Andy Jocelyn (played by Paul Danke), Chase Morrow (played by Brooks Wheelan) and Jimmy Rhodes (played by Will Weldon). These unskilled hacks might or not become murder victims of cannibal Bob and his cowardly assistant Violet.

Jimmy actually becomes Violet’s love interest, but their romance is so boring, it might put viewers to sleep. It isn’t until Violet starts developing feelings for Jimmy that she tries to deter him from wanting to be booked for Too Late. Violet and Jimmy have a not-so-meet-cute moment when Violet finds herself hiding in David’s bedroom closet during David’s “mass suicide” party, because David has unexpectedly gone into the room to have a sexual tryst with a female party guest. Violet doesn’t want David to know she was in his room to have some time alone, so that’s why she thinks it’s better to hide in the closet like a creep, rather than politely excuse herself and walk out of the room with some dignity.

While hiding in this closet, Violet meets Jimmy, who tells her that he’s renting the closet from David as a place to live. (As far-fetched as these living conditions might be to some people, there are many real-life examples of people who pay rent to live in a closet because it’s all they can afford, usually in big cities where the cost of living is much higher than in other places.) And what do you know, Jimmy is an aspiring stand-up comedian too. Based on the way this terrible screenplay is written, the only men Violet can meet in Los Angeles are aspiring stand-up comedians. It’s pathetic.

If anyone is wondering if Violet books any female comedians, the answer is yes, but she’s never actually shown booking any female comedians or talking to any female comedians about booking them. There’s a fairly even mix of male and female comedians shown on stage in the annoying and unfunny performance clips that are inserted throughout the movie. But apparently, Violet only chooses male comedians to be cannibal victims for Bob.

Wait, isn’t that gender discrimination in this fake feminist movie? You know it’s a fake feminist movie because the filmmakers try to make it look like when a woman wants men to be killed, it’s supposed to be “female empowerment.” Real feminism is about gender equality, not hating on men and wanting them to be murdered. This movie is so despicable.

Mary Lynn Rajskub plays experienced and jaded comic Gina Obispo, one of the Too Late comedians who does a terrible stand-up comedy routine that this movie wants viewers to think is funny. It’s a small and useless role, because all Gina does when she meets Violet for the first time is try to get Violet to admit to two things: (1) Bob is horrible and (2) Violet wants to become a stand-up comedian.

Throughout the movie, people keep asking Violet if she’s a stand-up comedian, even though there’s absolutely nothing that indicates that dull-as-dirt Violet has a sense of humor. Violet keeps denying that she has an interest in being a stand-up comedian. It’s all just an obvious set-up for what comes later in the movie, in some very phony pandering to feminism.

And in a disservice to this movie’s so-called “feminist” message, Violet only cares about hanging out with and mentoring male comedians, not female comedians. The only female comedian whom Violet interacts with in this movie is Gina, and it’s for less than five minutes. Gina seems like she’s been doing stand-up comedy longer than Violet has been alive. In other words, Gina doesn’t need Violet to mentor her.

Another pointless role in “Too Late” is the one played by Fred Armisen. His character in the movie is dorky Fredo Muñoz, a sound/lighting engineer at The Hayworth. The Fredo character adds nothing to the story, unless you think it’s important to watch scenes where Bob berates Fredo for not having the type of blue tint that Bob wants for the stage lighting. Someone must’ve called in a big favor to have a well-known actor like former “Saturday Night Live” star Armisen be in this cesspool movie, which is a big step down from the work that he’s capable of doing.

As for “boss from hell” Bob, the movie doesn’t bother to describe his origins on how and why he’s a cannibal. He looks human, but he can, of his own free will, transform into a monster with long nails, fangs and decrepit-looking flesh. He sleeps in a coffin, but he’s not a vampire. He keeps yapping to Violet about the “dark of the moon,” but he’s not a werewolf. The visual effects are as tacky and unconvincing as you would expect them to be in this garbage film.

The filmmakers try very hard to make Violet look like she’s some kind of heroine, but she’s not. It’s as if viewers are supposed to forget that Violet has actively participated in serial murders. The entire concept of this movie is simply awful, just like the screenwriting and direction. “Too Late” should’ve been titled “Too Little, Too Late,” because that’s an accurate description of the quality of this movie.

Gravitas Ventures released “Too Late” in select U.S. cinemas, on digital and VOD on June 25, 2021.