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Whenever the movie or a TV show is based on real events or people, its a slippery slope. There is that pesky,annoying difference between the movie and real life. In real life one encounters all kinds of people, makes little contact with them and continues his own way. In the movie, alas, we need much more. The true story based on the marathon runner with a penchant for robbing banks, sounds very original and interesting.The trouble is that Johannn, the lead character stays completely unknown to us by the end of the movie. We have no idea what makes him tick, what his motives are. His stony, stoic expression doesn't give away much. He keeps running and by the end of the movie, I felt the same, albeit running away from the TV set.

Austrian-German co-production, Der Räuber (The Robber, 2010), based on the real events, tells the story about the long-distance runner, who could've lived a decent life, having a loving and caring girlfriend, a solid place to stay, and an extraordinary talent for long-distance running that he could've easily made a good living on, but instead, he additionally specializes and excels in bank robbing, becoming an addict of such an unusual activity for no other obvious reason but for possible "beauty of a criminal campaign" and adrenaline rush received along. (He's hinted times and again that he couldn't have cared less about the stolen money itself, by jamming it into black rubbish plastic bags, as if he was going to trash it.) One of those life stories that you cannot help but get unpleasantly amazed with how all the reasonable prerequisites for a good life, though inexplicably, yet seemingly so unnecessarily, get flushed down the drain, apparently faithfully presented in the movie with understandable, ergo acceptable lack of intention to ease the answers to the hard whys.

I have always found runners and cyclists to be a strange lot. Why would they devote hours of their time to sweating except to get some kind of a rush similar to drug addicts?

This film shows that life clearly, as Johann (Andreas Lust) gets out of prison and, rather than seek a life of fame and glory as a long distance runner and settle down with a woman who loves him, he pursues a life of crime. He is seeking the same or a higher rush that he gets from running.

He doesn't quit running, but uses it to aid in stealing. It's never about money, as we never see him spend any. He just stores thousands of Euros under his bed. He even maintains a blank look as Erika (Franziska Weisz) tries to get some emotion out of him. His life is wrapped up in the rush he gets from stealing.

Both primary actors gave very good performances in a film that had you on the edge as time ran out for Johann.

Johann Kastenberger (Andreas Lust), real life bank robber, would have been considered just another thief but for his second interest -- marathon running. He was still an interesting conundrum as a bank robber, though, in that he never spent any of his ill gained cash. He couldn't put it in a bank, not even a Swiss one, for fear of detection. He couldn't get it out of the country. He didn't seem to want to buy anything anyway. So, it just stayed in a bag under his bed -- not really the best plan for hiding money. We never really find out why he had this compulsion to rob banks, and in the process steal getaway cars. He just did it, and it didn't even seem to make him happy. There was nothing about Johann that expressed happiness, not even his relationship with his girlfriend, Erika (Franzeska Weisz). But what made him a biopic worthy character was his other compulsion -- to run. He was a champion marathon runner who while even in prison, maintained his training regime running circles in the yard and using his own treadmill in his tiny prison cell. When asked by a prison official how his life would change when he got out, he said, 'I won't have to run in circles anymore.' This review is continued at exm.nr/BonnisSteiger . Thanks.

Most fans of Hollywood movies will probably not like this film because it doesn't contain massive explosions or a bombastic soundtrack (in fact it practically has none) but this stunner (based on the story of a real life bank robber) is one of the great thrillers of the decade. A sleek, sparse study of existentialism, THE ROBBER is a must see.

It begins rather abruptly, the first scene is a man named Johann (superbly played by Andreas Lust) running in what seems like a training center, but as soon as the camera pans back we realize he is in a prison and is about to be released after serving a 6 year sentence. As the story unfolds Johann is set free where he begins to win marathons but leads a double life as he returns to his old habits of stealing cars and then using them as getaway vehicles for his bank robberies.

As with European cinema, much of the pacing and characters are understated, there are times when nobody says anything but from the background noises and the looks on their faces you can clearly tell what they are thinking. Even though the few people he knows (his former girlfriend, his parole officer) deeply cares for him and pulls strings to get him to live a normal life it's clear that he does not want any of it. Johann just wants to rob banks and run because that is all he is. The whole movie takes place in Austria, the land of Heidi and Vienna coffee houses but with the movie being portrayed through Johann's eyes, Austria seems bleak, detached and robotic to make it look almost unbearable to be living in; while there are other characters in the story, they seem to be nothing more than minor twinkles in Johann's eye- he does not care for them and it almost seems like they are ghosts to him.

There were some professional critics that lambasted this movie for not revealing Johann's motivation on why he is what he is. But what they don't understand is that it really doesn't matter. Some people do things because it's the one thing (or two in Johann's case) that gives them meaning- everything else is of no consequence. I find the main protagonist/antagonist of this movie to be a combination of Johnny Depp's John Dillinger in PUBLIC ENEMIES and Barry Newman's Kowalski in VANISHING POINT. They exist only to do the one thing that matters to them and that's it.