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Running Out of Time

Running Out of Time

Drama · Thriller · 1994

Days before committing an attack, Antonio, a gunman of the terrorist gang ETA who has dedicated his life to a cause he no longer believes in, meets Charo, a young drug addict who, despite the sordid environment in which she lives, still retains her innocence.

Movie details

Running Out of Time

1994 Drama · Thriller 1h 33m

Critical arithmetic

One number, for now.

TMDB

6.0 / 10

Community rating

Days before committing an attack, Antonio, a gunman of the terrorist gang ETA who has dedicated his life to a cause he no longer believes in, meets Charo, a young drug addict who, despite the sordid environment in which she lives, still retains her innocence.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Running Out of Time?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Based on a true story. In the 70s, during the last stages of Franco's dictatorship, Txema, a basque construction worker, is arrested because of his connection to some terrorists who have just committed a murder. The secret service see in him an ideal candidate to infiltrate the terrorist band ETA and become a mole, so they try to offer him a deal if he will do so.

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Names above the title

The people responsible.

Directed by

Imanol Uribe

Written by

Imanol Uribe

Carmelo Gómez

Carmelo Gómez

Antonio

Ruth Gabriel

Ruth Gabriel

Charo

Javier Bardem

Javier Bardem

Lisardo

Karra Elejalde

Karra Elejalde

Rafa

Candela Peña

Candela Peña

Vanesa

Elvira Mínguez

Elvira Mínguez

Lourdes

Pepón Nieto

Pepón Nieto

Ugarte

Court is in session

Put Running Out of Time on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.