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2000 ยท United States - Christopher Nolan
Memento is presented as two different sequences of scenes: a series in black-and-white that are shown chronologically, and a series of color sequences shown in reverse order. The two sequences "meet" at the end of the film, producing one common story. During the opening credits of the film, the only sequence to be played backwards is shown. It starts with the developed Polaroid photograph of a man shot in the head. As the sequence plays backwards we are shown the photo reverting to its undeveloped state, entering the camera, being taken, etc. As the credits end, we see the protagonist shoot a man in the head.
Thriller, Crime, Drama, Mystery
2000-09-05
20 Critic reviews
Jonathan Rosenbaum
Chicago Reader
More a puzzle than a meaningful story, it reminds me of how Edmund Wilson compared reading a mystery to eagerly unpacking a box of excelsior, only to find a few rusty nails at the bottom.
September 27, 2011 read full article
Chris Nashawaty
Entertainment Weekly
Memento is one of those jigsaw puzzles whose pieces snap together more tightly with each viewing. Fueling it all is a performance by Guy Pearce that's as indelible as the tattoo ink covering his body.
February 17, 2011 read full article
Andrew Sarris
New York Observer
I am neither upset nor disturbed by Memento , only vaguely dissatisfied. I simply don't buy Jonathan Nolan's thesis that audiences know all the tropes and tricks of crime thrillers backward and forward.
April 27, 2007 read full article
Peter Rainer
New York Magazine
It's all pretty confusing, but then again, so were many of the classic film noirs.
September 26, 2002 read full article
Globe and Mail
March 22, 2002 read full article
Susan Stark
Detroit News
October 30, 2001 read full article
Eleanor Ringel Gillespie
Atlanta Journal-Constitution
Christopher Nolan's extraordinary film is a brainteaser and a heartbreaker.
September 07, 2001 read full article
Roger Ebert
Chicago Sun-Times
A diabolical and absorbing experience.
April 13, 2001 read full article
Desson Thomson
Washington Post
Memento doesn't just draw you into a dramatic mystery, it makes you aware of human mystery. And that's food for thought and entertainment.
April 12, 2001 read full article
Rita Kempley
Washington Post
Challenge all viewers and gives them plenty to ponder after the credits roll, the lights go out and they reach the parking lot.
April 12, 2001 read full article
Mark Caro
Chicago Tribune
Memento is a thriller for people who are sick of thrillers, a puzzle movie in which the puzzle is actually worth the time and effort to solve.
April 12, 2001 read full article
Stanley Kauffmann
New Republic
Nolan uses the structure simply as a gimmick to refresh a stale story of revenge, crime, sex, a film noir that never gets any darker than gris.
April 11, 2001 read full article
Richard Schickel
TIME Magazine
Full of odd, hypnotic menace.
April 09, 2001 read full article
Joe Baltake
Sacramento Bee
Nolan is a breath of fresh air as a filmmaker.
April 06, 2001 read full article
Terry Lawson
Detroit Free Press
It will be an unadventurous or lazy filmgoer who doesn't want to play the movie's ingenious game.
April 06, 2001 read full article
Steven Rosen
Denver Post
Destined to become a new noir classic.
April 06, 2001 read full article
Geoff Pevere
Toronto Star
Memento's boldest stroke is its ingenious synthesis of structure and theme.
March 30, 2001 read full article
Edward Guthmann
San Francisco Chronicle
Bound to be talked about, debated and eviscerated far more than it's understood.
March 30, 2001 read full article
Steven Rea
Philadelphia Inquirer
Terrifically satisfying film.
March 30, 2001 read full article
Houston Chronicle
Wild, daring, smart and funny, Memento is this year's quirky film-festival hit that deserves to break out of the art houses and into mainstream consciousness.
March 30, 2001 read full article