Memento is a movie almost entirely about its plot structure, which is certainly clever and memorable. The problem is that it depends so much on the viewer’s fun piecing the story together that rewatches diminish the movie’s thrill — you already know what’s going to happen, so there’s not much to “piece together.”
It doesn’t help that the dialogue is so clunky and expository, telling us its themes at face value.
The film’s final act is its strongest. Not because of the “oh SHIT” revelations, but because we finally get to see the film develop its themes: the connection between memory and identity, the use of self-delusion as a mechanism for coping with grief, and the way we humans will inevitably exploit people who can’t hold it against us.
Nolan’s direction is solid, occasionally bracing (like the scary home invasion flashback), but of course nowhere near as adventurous and cinematic as he’d deploy a few years later. I particularly enjoyed a black-and-white segment towards the end as he walks through a warehouse hallway. Most of the black-and-white segments are still, medium shots, so seeing the neo-noir promise come to life for a bit was great.
- Review Series: Top 100 (2009 List)
- Review Series: Christopher Nolan
Is It Good?
Very Good (6/8)
Note: This review was published early in The Goods' history and is a candidate for an expanded review in the future. Please excuse brevity or inconsistencies in style.
Dan is the founder and head critic of The Goods. Follow Dan on Letterboxd. Join the Discord for updates and discussion.
One reply on “Memento (2000)”
Memento remains one my challenging favourites, not least for the rather beguiling performance from Guy Pearce (Even though he went on record a few years later declaring that he hated his performance in this film)
I am sure when Nolan began filming he knew from the offset that by reversing the plot so the viewer knew from the very beginning what the ending would look like it would take away some of the intrigue and leave the viewer wondering what is the point in watching this!
That said, and despite the rather clunky script where the viewer is almost guided to what is going to happen next, it is still very entertaining and challenging at times, demanding your full attention.
Obviously a second viewing irons flat even more of those subtle twists and turns, in much the same way that other “twist” ending films do (Am looking at you, Keyser Sözer!)
Not quite in the same challenging “WTF!” happened movies as say “Mulholland Drive”, but still serves as 2 hours worth of entertainment.