An existential chain reaction, yet as remarkable as his cinematic gamesmanship is the way that he traces the anatomy of feeling in Lola.Read Full Review »
100
LOS ANGELES TIMES: Kenneth Turan
As essential in its own way as Anton Karas' celebrated zither work was to "The Third Man," Lola's music is perfectly suited to the film's aims and just about addictive in its throbbing, insinuating rhythms.Read Full Review »
90
NewsWeek: Andrea C. Basora
With her Doc Martens and her spiky, fire-engine hair, Franka Potente makes a perfect Lola. Like the film itself, her tough, flashy exterior cloaks a warm emotional center.Read Full Review »
It's both fractured and fluid, with a helter-skelter syntax and a ceaselessly infectious backbeat. Beyond that, it's a blast.Read Full Review »
80
The New York Times: Elvis Mitchell
Tykwer deliberately blows away all traces of the mundane and the familiar, so that not even the closing credit crawl moves in the expected way.Read Full Review »
75
CHICAGO SUN-TIMES: Roger Ebert
I would not want to see a sequel to the film, and at 81 minutes it isn't a second too short, but what it does, it does cheerfully, with great energy, and very well.Read Full Review »
70
Salon.com: Charles Taylor
Potente pumps strong and true from the first frame to the last.Read Full Review »
60
Village Voice: J. Hoberman
An enjoyably glib and refreshingly terse exercise in big beat and constant motion.Read Full Review »
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