Memento (2000)

Murder mysteries and lone detectives can make for some of the best films, to be enjoyed by anyone and everyone. Unfortunately, with this comes an abundance of the generic: bland, forgettable protagonists; one-dimensional female characters; predictable tropes and even more predictable endings. In 2000, Christopher Nolan managed to create a memorable mystery that manages to be unique.

If you don’t already know, Memento’s scenes are in reverse order, slowly answering any questions the viewer has about the murder mystery as they are literally shown how it happened – though it isn’t that simple, either. It is Nolan’s precise narrative construction that makes Memento as entertaining as it is. The film is also Nolan’s first collaboration with director of photography Wally Pfister, whose slick but subtle visuals help to elevate the film to its artistic and respected status.

However, this is not to say the film is not full of great performances: as a character unable to create new memories and obsessed with finding his wife’s killer, Guy Pierce is challenged to play Leonard Shelby as paranoid and obsessive while still likeable, with just a hint of tragedy; he does so stunningly, and it could be argued that the film would not have as much gravitas without him – it certainly wouldn’t work with as well with a worse performance. As Leonard’s disjointed life is presented many small characters come and go, but the humorous and believable Joe Pantoliano’s Teddy (seemingly the only friend Leonard has), along with Carrie-Anne Moss’ unpredictable Natalie (a mysterious woman helping Leonard “out of pity”) have more substantial roles.

Eloquent, fun, dark and gripping, Memento, Nolan’s first studio-distributed and Oscar nominated film, has hints of everything to come in his successful and esteemed career as one of the most talented directors working today.