Film Review Stew: RUN LOLA RUN

THUMBS UP FOREIGN FILM REVIEW RATING!

RUN LOLA RUN is one of those films that actually delivers what it promises. In this case, a heart-pumping, action-filled flick with an excellent soundtrack, and plenty of artistic weirdness to boot.

Clocking in at a mere 80 minutes, this German-made film is infused with a quality normally seen in the cars this country produces. Tom Tykwer wrote the script and directs (as well as contributing his voice and music to several songs/remixes), and gives us a movie that contains more than just artsy material. He takes the viewer on a journey of existentialism thanks to the unusual abilities of its main character, Lola. She’s a dye-dipped redhead with a high-pitched, soprano voice that can shatter glass. And she has the ability to change her future. Problem is, though, every time she changes something, everything changes, not just the one thing she wants. So when her boyfriend, Manni, loses 100,000 Deutsche marks that are owed to a local mob boss, Lola has to save him. But she’s only got 20 minutes, and everything doesn’t go as planned ...the first time. Or the second. Or maybe even the third.

Not being very familiar with German cinema, I’d rarely watched anything from this country. But I’d often heard people comment on Run Lola Run and how great it was, so I decided to check it out. And I’m glad I did! The film opens up with a bang and doesn’t stop until the final scene. Franka Potente (THE BOURNE IDENTITY) stars as the hair-color-enhanced Lola, and her portrayal is believable, beautiful, and bizarre. In short, a great combination. Her boyfriend, Manni, is played by Moritz Bleibtreu (MUNICH), and his ridiculous behavior is pulled off well, especially when he loses the money and calls Lola in a blubbering panic.

I loved, too, the incorporation of overlapping animation, something I enjoyed in the movie THE DANGEROUS LIVES OF ALTAR BOYS.

Connections within connections is the main theme here, but one that is brought to life by a vivid script and excellent camera work (the dizzying slow-downs and speed-ups may drive some to distraction but are vital to the story).

I mentioned earlier the great soundtrack and that the director contributed his own voice and songs to it. And so did Franka Potente. The European beats mixed with old American titles were laid down in topnotch fashion.

This is another foreign film gem, and one that won’t take up much of your time. But it’s one you’ll be glad you visited.