Twenty short minutes to somehow find the money and get it to him.Run Lola Run is a film you expect to see at a Independent film festival, or in a Professor's office at a film school. In no way do I mean that in a negative way, I mean not to intend that the film is of a lower standard with lower production values, rather that the film is a beautifully mastered technical film that uses every filmmaking technique in the book. It is refreshing to see a film like this in the midst of the commercialised, dry-cut, 'traditional' filmmaking that we see on the silver screen so regularly.As stated before, the film attempts to use a wide range of filmmaking techniques to help get the director's meaning and vision across to the audience. Some of these include speed-up, instant replay, black and white, and even animation in some parts.It may sound strange, but the film is twenty-minutes long. Well, not really, but it is in context. Tykwer focuses on the twenty-minutes that Lola has, and shows that twenty-minutes three times over, each time with small differences will affect the outcome of the characters. The danger with this kind of technique is that it can threaten to be repetitive. However, the new additions added by Tykwer are very clever and link in perfectly, which will have you gasping for more.Tykwer wrote and directed this film, and while doing this, he never lost sight of his meaning. His meaning that he is trying to express is that life consists of the decisions we make. While watching the film, this becomes increasingly evident. He also likes to emphasise that time is against Lola during the film. This can be seen when a young woman walks past and Lola asks her for the time, the next shot shows a much older woman answering her question, hence showing the importance of time.Franka Potente gave a good performance as Lola. Yet, it is hard to say that she was fantastic, because it is a role that requires a great deal of physical acting and we didn't get to know a lot about Lola, hence the film wasn't overly-focusing on her issues, rather her boyfriend's problem. The real standout performance from my point of view came from Moritz Bleibtreii. He actually took on a quite challenging role and pulls it off successfully. He achieves his objective of getting the audience to feel sympathy for the position that he is in.Run Lola Run is without a doubt, one of the best technical films ever made. A profound, exciting, new age masterpiece that has well and truly left its mark on the film industry.Five out of Five.

score than in this German cinematic masterpiece.In a compact ninety minutes, combining snips of animation, cinema verité, quirky characters, situations and dialogue, and a pace that makes most music videos look like they've been filmed in slow motion, three versions of the same story sequence unfold, and each time conclude with a jolting finish that defies convention, and keeps the viewer guessing until the final frame.This is one of those rare cinematic events that is entertaining, satisfying, and absorbing, as well as flawlessly acted, staged, edited, produced and directed. I thought that Lola ran her race with flair and style, and left all others way behind in the dust.

forgot the money in the tram and is now more desperate than ever. He calls the one person who has always taken care of him: the love of his life, Lola. She asks Manni to wait for her as he is going to rob the 100.000 DM from one the shops in town as he knows that turning up at Ronni's without the money would be his immediate death. Lola starts running immediately thinking of a million different ways how to help the man who is the most important person in her life and she runs and runs.....The quality of cuts and camera shots, innovative techniques at the top of modern filming practically unknown to German viewers up to now will hopefully make 'Lola rennt' a blockbuster in the cinemas as it fully deserves it.Like 'Der Himmel über Berlin' City of Angels', Ryan, Cage' and 'Bandits' this film is surely to be copied by Hollywood. A symbol of the emerging new strength and innovative qualities of German film-making. You HAVE to see it : The world-premier screening on 15th August, Cologne, Germany at the chocolate-museum Open-Air-Cinema had a 1,000-strong audience screaming and laughing, breaking into applause on several scenes as the story unfolded. The director and the actors and actresses were present and will have been delighted by the spontaneous reactions of the audience proving this film to be one modern masterpiece of film-making.

better than the theater because the 5.1 sound is superior, plus you have the option of a good dubbed version or the original German with English subtitles. I use either, depending on my mood but I lean toward the German with subtitles.Franke Potente, who has since gone on to become better known around the world from the "Bourne" films, is the centerpiece of this film and very, very interesting. The looks of shock on her face, her flaming red hair and wild general appearance and the crazy things that happen to her are always fun to watch and hear. Added to the unique cinematography, which includes tricks here and there, is a pulsating electronic soundtrack that brings added life to this already kinetic, involving film. The high rating I give this film could really be summed up in two words: DIFFERENT and FUN.

"Lola rennt" 1998 and reads the basic topic might think that he deals with a movie with a hackneyed subject. However, if he is told that the treatment is drastically different, then we may incite him to watch this movie and he probably won't regret it. Indeed, following the starting point, the movie puts forward 3 solutions to solve Manni's trouble. Either, Lola's father refuses to lend her money, either Lola holds up the bank, either, she can't get through to her father. So, this will give birth to 3 different stories which will lead to 3 different conclusions. Inside these stories, a detail, a little moment is sufficient to change Lola's running in the street and it can also modify the course of things. For example, when Lola leaves her flat, there's a young man with a dog in the corridor. Will he trip Lola up? Will she hesitate a moment because of the dog? Will she jump over it? If she chooses one of these three solutions, it can lead to dramatic consequences for others characters her father's colleague in the car .By adopting a clip side "à la MTV" in the making, by using all the possibilities offered by a camera succession of pictures filmed in a fast way or scenes in slow motion , by including wild extracts of animation film, through precise camera angles "à la David Fincher" and with a sharp sense of detail, the director Tom Tykwer makes us really share her heroin's state of stress and the fact of knowing that to save her boyfriend is a matter of life and death strikes right at the heart. Lola's uneasiness is heightened by the fact that every time she meets someone in the street, odd sometimes spooky thoughts come thick and fast. Rarely has a director has so well combined anxiety and excitation to the spectator. We allow ourselves to be led astray by Lola's unrestrained running with frenzy while bearing in mind, the fear of time which inexorably passes. It is also relevant to note down that Tykwer's camera nearly never stands still and finds moments of break between the three stories when Lola and Manni are lying side by side.Franka Potente with her loud red hair which I interpret as a symbol of hope mingled with fear in the wind, wearing a tank top spends most of her time to run in the film, hounded by the camera which continually follows her everywhere she goes, either it is a little street, an avenue or a building site but she also capable of emotion when her father refuses to give her financial help, she starts to cry . Let's just regret heavy effects when she screams, she can break glass.A movie with such a treatment was to be destined to make a beautiful career abroad. Lola had run with enormous success on numerous German screens, she had to run on plenty others foreign screens a bit all over the world to satisfy a lot of viewers.The clip side of the whole, the sustained use of the techno music will probably fail to please certain film enthusiasts but will surely perceive "Lola rennt" as a lively and a really great exercise of style. An exciting experience which is worth the trip and after the projection, Lola keeps on running in the mind of the ecstatic spectator.

thousand DM in the subway but without it he's doomed. But Lola says him to wait until she comes and she has only 20 minutes to reach Manni with the money. And so Lola runs.....Now director Tom Tykwer explores the situation's limitless possibilities by defying time and space. In each of Lola Rennt's three scenarios with three different endings , subtle changes in Lola's run instantly affect the lives of random strangers encountered on her path. Every action has significance and every second counts. Such a fantastic idea was not easy to describe in the movie. But Tykwer was magnificent at that... he finely applied the theory but without making a slightest reference.Besides running wildly, Potente had many other things to do and she offered a pretty good performance. She looked younger and energetic in that bright red hair. Bleibtreu as Manni was also good. But the real hero of the movie is itself, or more precisely, Tom Tykwer. I'll rate his movie 5/5.

original. It's not as innovative as people think, and if you want to see a well-written, wonderfully acted story with similar structure, check Sandra Werneck's "Possible Loves" 2001 , a mature, touching romantic dramedy.Lola runs faster than I could ever do, and she is charming, but I won't rate her efforts more than 7/10.

of gloriously pretentious epigraphs, and by one of the characters himself, who blows the whistle and kicks the ball to start. At no point does Twyker indulge in illusionism - the film is a textbook in Brechtian alienation: cartoons; jump cuts; the idea that every plot we see is just the TV programme Lola's mother watches; implausible situations, coincidences, chance; elastic time etc. There can be no tension and drama because we know the director has stacked everything against us and Lola, and can pull any rabbit he likes out of the hat and does which makes a mockery of those critic who see the film as dramatising the freedom of computer games or DVD .And yet we ARE thrilled with the drama and tension. Because cinema has never been about character in the novelistic sense. Syd Field may be discredited now, but he was right about one thing: action is character. We don't need to know anything about Lola's backstory - the geometric fact that she has a goal is enough. We positively beg Twyker to wipe out the last story as a mistake, and begin again. It is cinema's urge towards denying death, because death inaction The End. And still Twyker even denies us this - death IS the film's motor, it causes it to keep going; success and reconciliation lead to inertia, alienation and finish.So what does it all mean? Without in any way overestimating Twyker's artistic worth, LOLA bears many similarities to the works of Vladimir Nabokov, with its playfully sadistic master of ceremonies author/director constructing an elaborate labyrinth, letting his hapless creation loose in it. There is something cruelly godlike in this, and the film's dilemmas ARE existential. Twyker mocks Lola throughout, constantly emphasising the circularity of her quest; fast-forwarding and affirming others' futures while she is trapped so lethally in the present, her future oppressively to be created by her.The inverting of life and death, however, are only possible through art, and this is where the film's melancholy lies. Twyker has justifiably lost faith in cinema as a medium of observing, revealing and experiencing reality. Nabokov can take his traumatised professor in 'Bend Sinister', and give him the saving grace of madness - those actually living in Russia weren't so fortunate. We usually only get one choice, and we're stuck with the one we make. In this light, the film does work on an emotional level. Despite the variations on Lola's plot, things remian desperately similar in its context. Are we really that important, or, like Mannie, do we fear we'll be forgotten as soon as we're dead. This isn't IT'S A WONDERFUL LIFE, where one life is inseperably bound up with the happiness of others.There is progress. It may be misogyistic of the film to suggest that all Lola's seeming mobility is useless, that it's only when Mannie takes control that danger can be averted. The other viewpoint is thast Lola working on her own resulted in despair and death, but once Mannie starts doing his bit, and the two work in tandem, that resolution becomes a possibility. Isn't Mannie's flip relief at the end of the third story so brilliant, so true?Each story, for all their technical inhumanity, has masterpiece flashes of human comedy, largely focusing of Lola's gleefully unpleasant dad. This is the ultimate film of late urban capitalism, where mobility is a Maxwell's Demon overloading in information, yet hurtling towards inertia, where a life is worth as little as a craps risk and a clock. While critical comparisons with Godard and Fassbinder only reveal how standards have declined in arthouse cinema; and the danger of monotony isn't always averted, the surprise of LOLA is that a film so light and polayful, so impatient with angst and death, should have been made by a German.

and she is trying to prevent his being murdered by his boss. In one scenario, she steals a gun and robs a bank and in another she helps her boyfriend hold up a store. This is certainly NOT The Adventures of Ozzy and Harriet! Despite this, though, for some reason I found myself actually caring what happened in the movie. Secondly, the movie is HIGHLY stylized and has a sort of "new wave" feel to it though it was made after the new wave films of the 70s and 80s .