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100
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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.
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100
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Entertainment Weekly Owen Gleiberman
An existential chain reaction, yet as remarkable as his cinematic gamesmanship is the way that he traces the anatomy of feeling in Lola.
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100
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Washington Post Desson Thomson
Fabulously kinetic.
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100
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Christian Science Monitor David Sterritt
Tykwer's style gives the movie an explosive energy that never quits, marking him as the most ingenious new talent to hail from Germany in ages.
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88
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San Francisco Examiner Wesley Morris
A knock-down, haywire ballad of the adrenalinization of love and despair.
|
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80
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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.
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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.
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75
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San Francisco Chronicle Peter Stack
The action is so fast that the viewer almost breaks out in a sweat...Ultimately vapid. Lola never does develop as a character, and the fuss seems ultimately pointless.
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75
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New York Daily News Jami Bernard
Furiously paced.
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40
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Washington Post Stephen Hunter
Kind of like watching a John Waters film on fast forward with all the good parts cut out. It's empty of charm and meaning, but it certainly kills time, for those who wish it dead.
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