Based on Martin Prinz's novel On the Run (which is itself based on the true life case of 'Pumpgun Ronnie', a bank robber from the eighties), Heisenberg's film is as grimly determined and as humourless as its protagonist. It plods its way through multiple heists with the interstices characterised by a character who seems dead set on reducing his personality to a limpid emotionless stare. With touches of Melville's 1967 classic Le Samouraï in its austere, formalistic portrait of uncharismatic, shark-eyed criminality, Heisenberg does allow himself the occasional moment of excitement as an increasingly driven Rettenberger robs two banks in quick succession before escaping the ensuing police pursuit on foot. However, the lack of emotional engagement effectively neuters the romance with Erika. The Robber is a piece of taut Eurocrime which, while unambitious, is also lean, unpretentious and effective.