Memento

[Disclaimer: Reviewing a film like Memento is a dangerous task. It's the type of film that could be ruined by being exposed to too many details. In this review I'll try not to divulge anything other than my opinion of the film. To be safe, however, I'd advise skipping this, seeing the film, then returning to read my comments later.]

Memento's narrative structure could easily be viewed as nothing more than a gimmick. A viewer could not possibly make a bigger mistake. The way in which the story is told enhances the experience in ways that I could possibly have imagined. Memento is a thinking man's movie: one moment's lapse in concentration could spell disaster for one's comprehension of what exactly took place. The filmmakers ask the audience to be as perceptive as possible, and those that willingly abide by the suggestion will be absolutely riveted by what happens during every minute of the film.

Numerous films have started with the end of the story, then returned to the beginning to attempt to develop characters and expose the path of the storyline. Memento, deviating from the norm, does something entirely different. To say that the entire film is told backwards would be incorrect, but it would be close. I won't exactly say what happens, but the audience is exposed to the method of time during the first few minutes of the film. The opening shot is an in-your-face exclamation mark to the introduction to the film. It's might be one of the singular most intriguing openings to any film I've seen.

All those involved are spot-on perfect. Guy Pearce as Leonard Shelby gives one of the best performances of the year, and Joe Pantoliano and Carrie-Anne Moss each are extraordinary as Leonard's questionable acquiantances Teddy and Natalie. Dody Dorn's film editing is extraordinary, as the exact right pace of the film is set from the quick fades between sequences. But the real star is writer-director Christopher Nolan. The script is as precise as can possibly be, and just the right comic notes are hit. So many loose ends are developed during the story that it would seemingly be impossible to tie them all up. Miraculously, they almost all are - those ends that are still exposed are clearly purposely done so. With a little post-view discussion and thought, the true genius of the script is exposed. Equally spellbinding is Nolan's direction, and the somewhat morbid mood is exquisitely developed. At times frenetic, and at others thoughful, the direction is one of the best displays of absolute control of the subject matter as I've ever seen.

I won't write much more on the film to save you from its secrets, but rest assured that Memento is a film that deserves to be seen. It's a gift to intelligent audiences everywhere. Wonderfully philosophical and mysterious, it's masterfully constructed film noir. Not since Silence of the Lambs was released has what is quite possibly the best film of the year came out so early. It came out of nowhere, and it's not to be missed.

On a scale of 1 to 10 reverse polaroids : 10

For an in-depth analysis of the film, click HERE.
For the short story inspiration of the film, click HERE.