Tom Tykwer
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Constantly under pursuit—the many chase scenes recall Run Lola Run—Ronan finds refuge with a British family (led by Olivia Williams) traveling through Morocco.
Once there was a German thriller called " Run Lola Run " in which its heroine does much running.
Saoirse Ronan ("The Lovely Bones" and "Atonement") plays a teenager who isn't the kind of girl you want to upset in this action-packed thriller that's sort of a juvenile version of "Run Lola Run."
"Hanna" doesn't deliver a typical Hollywood action film but rather something more akin to a European thriller like "Diva" or "Run Lola Run," films that are more expressionistic and stylized.
Luc Besson's "The Professional" comes to mind, as do the propulsive synth-syncopations of "Run Lola Run" and the dark allegorical menace of Grimms fairy tales.
She also runs a lot, an activity that has prompted comparisons to director Tom Tykwer’s 1998 Run Lola Run.
Director Sebastian Schipper amps up the intensity to "Run Lola Run" levels, but eventually overplays his hand.
It won’t surprise viewers unfamiliar with actor-turned-helmer Schipper’s career that he has previously collaborated with Tom Tykwer: For much of its seamless running time, “Victoria” essentially plays as “Run Lola Run” minus the stylized videogame conceit.
German director Sebastian Schipper is most famous for having acted a small role in Run Lola Run.
In 1998, Tom Tykwer made "Run Lola Run," a kinetic thriller in which the German star, Franka Potente (later of "The Bourne Identity"), seemed to never stop moving.
In its virtuosity, subject matter, and country of origin, Victoria calls to mind Run Lola Run.
Director/co-writer Sebastian Schipper, a veteran actor who’s appeared in “Run Lola Run” and “The English Patient,” knows character and performance as expertly as he does crime movie mechanics, and balances those elements so well in “Victoria” that watching it feels like being a sixth amigo, not just some detached audience member observing fictional figures.
Perfume is easily the most nasally fixated movie to hit theaters since John Waters distributed "Odorama" scratch-and-sniff cards for Polyester, but here the olfactory theme is pursued with costumed gravitas and whispered awe.
Run Lola Run will be compared to many other titles like: Rashomon (1950), Krzysztof Kieslowski's Blind Chance (1981), Night on Earth (1992), Groundhog Day (1993), Pulp Fiction (1994), last year's Sliding Doors , and the recent titles Go and Twice Upon a Yesterday , as well as episodes of "The X-Files."
Compared to the alternate scenarios envisioned in "Sliding Doors" or "Blind Chance," "Run Lola Run" comes across as pedestrian and it stretches credibility that in a mere 20 minutes Lola can run from her home to her father's office and then to Manni; it looks like she's been running for hours.
Blind Chance, finished in 1981 but withheld from release for six years, goes off something of a metaphysical deep end, though its structure was innovative enough to provide inspiration (if that's the word) for Sliding Doors and Run Lola Run.
Run Lola Run will be compared to many other titles like: Rashomon (1950), Krzysztof Kieslowski's Blind Chance (1981), Night on Earth (1992), Groundhog Day (1993), Pulp Fiction (1994), last year's Sliding Doors , and the recent titles Go and Twice Upon a Yesterday , as well as episodes of "The X-Files."
You can't help but wonder how big a fan Guadagnino is of Tom Twyker's 1998 classic “Run Lola Run” which also featured a similar music motif (we're guessing quite a bit), but it's such an inspired and gutsy choice you can't help but smile in how euphorically it works in the film's final act.
This festival (Best Director, Karlovy Vary; Discovery Award, Toronto) and Norwegian film awards winner owes more than a nod to Tom Tykwer's fate-bending fairy tale, "Run Lola Run," with its narrated 'what if' and flight of fancy' scenarios which continually spin off the main action.
While borrowing repeatedly from the best of Frenchman Jean-Pierre Jeunet ("Le Fabuleux Destin d'Am�(c)lie Poulain") and the Germanic Tom Tykwer ("Run, Lola, Run"), Norwegian filmmaker Joachim Trier has nevertheless fashioned a most promising first feature with the art house "Reprise."
Run Lola Run will be compared to many other titles like: Rashomon (1950), Krzysztof Kieslowski's Blind Chance (1981), Night on Earth (1992), Groundhog Day (1993), Pulp Fiction (1994), last year's Sliding Doors , and the recent titles Go and Twice Upon a Yesterday , as well as episodes of "The X-Files."
The device of playing with time will remind some of Pulp Fiction (and so will Lola and Manni), and also of Jim Jarmusch's brilliant Night on Earth.
Seedy photographer Nicolas (Banderas) snaps a picture of the disguised Laure, beginning what De Palma intends as an exploration of intertwining destinies but what amounts to a blathering burlesque of themes handled with great canniness in Tom Tykwer's "Run Lola Run."
Seedy photographer Nicolas (Banderas) snaps a picture of the disguised Laure, beginning what De Palma intends as an exploration of intertwining destinies but which amounts to a blathering burlesque of themes handled with great canniness in Tom Tykwer's "Run Lola Run."
It is not as imaginative as "Groundhog Day," but then again, few films are.
Run Lola Run will be compared to many other titles like: Rashomon (1950), Krzysztof Kieslowski's Blind Chance (1981), Night on Earth (1992), Groundhog Day (1993), Pulp Fiction (1994), last year's Sliding Doors , and the recent titles Go and Twice Upon a Yesterday , as well as episodes of "The X-Files."
The "time loop" plot has been done before, in some cases more successfully, in films like "Groundhog Day" and the TV Shows "Star Trek: The Next Generation" and "The X-Files".
You’ve seen this “what if” story structure conjured in numerous films (most notably Groundhog Day and Sliding Doors), and the philosophy always amounted to the same thing: since our destinies are pre-ordained, what’s the use fighting life’s crapshoot?
When Doug Liman directed the first film five years ago, he was inspired partly by the pace and energy of Tom Tykwer's film Run Lola Run.
"Run, Lola, Run"eTMs Franka Potente, who played BourneeTMs former love interest Marie, is sorely missed here.
Cloud Atlas (2012)
Directed by Lana Wachowski
influenced by Run Lola Run (1998), Perfume: The Story of a Murderer (2006)
“Cloud Atlas” might be based on David Mitchell’s novel, but you won’t likely be inspired to track down the book after seeing this collage film treatment from the collaborative writing-directing team of Tom Tykwer (“Run Lola Run”) and the Wachowski siblings — Lana and Andy (“The Matrix Trilogy”).
However, it is predominantly a noble defeat - compressing Mitchell's six segments and endless interwining themes into a streamlined narrative proves beyond the grasp of The Wachowskis (The Matrix trilogy, Speed Racer), Tom Tykwer (Perfume, Run Lola Run) and a willing cast.
Filmmakers Lana and Andy Wachowski ("Speed Racer") and Tom Tykwer ("Run, Lola, Run") combined forces to tackle David Mitchell's multi-narrative novel, which earned lots of acclaim in serious literary salons and science-fiction circles.
In "Cloud Atlas," collaborating with " Run Lola Run " and " Perfume: The Story of a Murderer " director Tom Tykwer (the Wachowskis and Tykwer directed three story lines each, respectively), they weld this theme to one of eternal return to create an umbrella narrative of eternal struggle.
David Mitchell’s notoriously unfilmable 500-plus-page 2004 novel, “Cloud Atlas,” has, inevitably, been filmed, and by no less than Tom Tykwer (“Run Lola Run”) and siblings Lana and Andy Wachowski (“The Matrix” movies).
Pacing the nearly three-hour film as if it were a teaser for itself, Chicago-native writers/directors Andy and Lana Wachowski ("The Matrix") and German filmmaker Tom Tykwer ("Run Lola Run") don't deliver a single powerful sequence or profound moment.
Lost in Translation (2003)
Directed by Sofia Coppola
influenced A Hologram for the King (2016)
Themes
Like the Dave Eggers novel it was based on, “A Hologram for the King” calls to mind such diverse antecedents as “Death of a Salesman,” “Waiting for Godot” and “Lost in Translation.”
It’s “Lost in Translation”-level icky, but it’s quickly establishes this is no Ugly American romp.
(In this, it resembles the Sofia Coppola-Bill Murray “Lost in Translation.”)
The comedy stems from the sense of dislocation even more acute than that in Sofia Coppola’s wry comedy,“Lost in Translation,” his growing friendship with the Saudi driver, a search for alcohol in a land where such is forbidden and the surreal experience of a bacchanalian party at the Danish Embassy where he must dodge the advances of a randy expat.
Imagine “Lost in Translation” in the Middle East and you’ll get a good idea of the soul-searching that drives the meandering plot forward.
A pair of podcasting investigative journalists, Dana Haines (Rhian Rees) and Aaron Korey (Jefferson Hall), also make lasting impressions, while Haluk Bilginer (2009's " The International ") is quirky and endearing as Dr. Sartain, a successor to Michael's late psychologist Dr. Samuel Loomis.A "Halloween" film wouldn't be quite the same without some potential teenage victims, and this film delivers in the same way the first did: by presenting Allyson and her pals as everyday kids, going about their daily lives, unaware of the horrors lurking in the shadows.
Purposefully one-note, the film has been compared, not unfairly, to Run Lola Run and first-person shooters, but its audacity is closer to that of Russia's extreme climbers, who also thrive on flaunting their fearlessness and resourcefulness in ways that feel like an extension of and resistance to the postmodern masculine ideal foisted on them in the age of Vladimir Putin.
"Run Lola Run" with severed heads and sci-fi trappings, the picture never stops moving long enough to be bothered by anything but the sheer visceral exploits on display as Henry races around, mowing down anyone who poses a threat or stands in his way of learning the truth.
Run Lola Run will be compared to many other titles like: Rashomon (1950), Krzysztof Kieslowski's Blind Chance (1981), Night on Earth (1992), Groundhog Day (1993), Pulp Fiction (1994), last year's Sliding Doors , and the recent titles Go and Twice Upon a Yesterday , as well as episodes of "The X-Files."
The device of playing with time will remind some of Pulp Fiction (and so will Lola and Manni), and also of Jim Jarmusch's brilliant Night on Earth.
There are elements of fate and images which strongly recall "Run Lola Run," (a man crossing a line of cassocked priests is the flip to Lola's encounter with nuns).
Like Tom Tykwer's Run Lola Run, Amelie is energized by instances of fast-cutting and unexpected inserts.
Curiously, Gluck makes this rom-com feel like an action movie with a frenetic ticking-clock plot where the characters run around to race against time, à la Run Lola Run, Speed, Midnight Run, etc.
For a generation of teens and twentysomethings popping Ritalin like Tic Tacs and guzzling Red Bull like mother's milk, a quaint little movie like "Run Lola Run" must feel as slow as Tarkovsky or Jarmusch.
Imagine Run Lola Run without the artsy pretension.
Marrying the concept of Rudolph Mate's 1950 noir “D.O.A.” -- remade in 1988 starring Dennis Quaid -- to the fast-moving, postmodern style of “Run Lola Run” might seem creative, but “Crank” is more irritating than inventive.
This movie, a triptych whose overlapping structure is reminiscent of such movies as "Pulp Fiction," "Before the Rain" and "Winter Sleepers," is definitely fierce and most definitely human.