Critics’ reviews

Memento (2000)

13 reviews from 13 publications. Critics’ score 84: 8 positive, 1 mixed, 0 negative.

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84
Positive
8
Mixed
1
Negative
0

Most critics greet Memento with strong enthusiasm, praising a reverse chronology that makes the audience share its protagonist’s uncertainty rather than merely admire a clever puzzle. The reviews repeatedly credit the structure with sustaining suspense and making questions about memory, identity and perception part of the thriller’s action. Guy Pearce’s performance draws particular praise, with Joe Pantoliano also singled out. Several critics find wit and humour alongside the disorientation, giving the intricate plotting some welcome lightness.

The main disagreement concerns what remains once the puzzle is solved. Most critics find substance in the film’s treatment of unreliable memory, but The New York Times admires the ingenuity while finding the confusion artificial and the insight limited. That is a distinct minority position in a strongly positive spread: the reservations concern the film’s lasting impact more than its ability to keep an audience occupied.

Radio Times
★★★★★ · David McGillivray
100

This dazzling, highly original anti-thriller features a complex jumbled narrative that moves backwards in time and is complicated by the protagonist's short-term memory loss. The ingenious structure rewards concentration and underscores that memory, though unreliable, shapes our sense of reality.

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The Guardian
20 October 2000 · Peter Bradshaw
90*

Bradshaw calls Nolan's follow-up to Following a terrific, exciting, demanding, agile, sly, witty and fun film that keeps viewers off-balance with its fragmented structure about memory, time and identity. He singles out the complex thriller plotting, performances (especially Guy Pearce and Joe Pantoliano) and the shocking twist for praise.

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Total Film
20 October 2000
90*

The review lauds the film's clever non-linear structure that mirrors the protagonist's memory loss, calling it a masterful execution of a complex concept with excellent leads and rewarding suspense and humor.

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Empire
1 January 2000 · Angie Errigo
85*

The critic praises Nolan's imaginative and challenging exploration of memory and time through a reversed narrative structure in this compelling murder mystery, highlighting the strong performances especially Pearce's.

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Los Angeles Times
22 January 2001 · festival review · Kenneth Turan
85*

The critic praises Nolan for succeeding with an intricate, despairing premise that increases tension by telling the story backward. It places the audience inside the protagonist's head, turning a simple story into something complex and disorienting.

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Variety
14 September 2000 · festival review · Lisa Nesselson
85*

The critic hails the film as a bravura, ingeniously structured puzzle with Einstein-caliber dexterity in deconstructing time for a disturbing revenge tale. Excellent performances and editing sustain the mystery until a punch-packing resolution.

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The New Yorker
12 March 2001 · Anthony Lane
80*

The critic finds the film's reverse structure and memory-loss premise swift, sly, and dazzling, delivering a real kick despite its complexities. It evokes a wasted, dusty Los Angeles landscape and a sense of living death in Leonard's ritualistic quest.

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The Times
19 October 2000 · Adam Mars-Jones
80*

Mars-Jones describes Memento as a successful thriller with an original twist, highlighting the amnesiac hero's use of Polaroids and tattoos to navigate short-term memory loss while pursuing his wife's killer. He notes the film's effective suspense and questions of truth, responsibility and perception.

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The New York Times
16 March 2001 · A. O. Scott
60*

The critic calls the film a brilliant feat of rug-pulling that delights fans of twisty thrillers but finds it ultimately fails to leave much of an impression. It favors sensation and artificial confusion over genuine insight into human reality.

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Screen Daily
24 January 2001 · festival review

Nolan's stylish revisitation of the amnesia thriller maintains expert narrative tension through its backward structure and voice-over, resulting in a gripping and intellectually satisfying film that sparks post-screening discussion. Guy Pearce's performance mixes determination and humility effectively.

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Sight and Sound

The critic praises Nolan's innovative backward narrative as a compelling psychological puzzle that mirrors the amnesiac protagonist's condition and forces the viewer into investigative work. It delivers noir twists that ultimately question the hero's motives and innocence.

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Slant Magazine
2 May 2001

The critic notes that the backward narrative compels viewers to inhabit the protagonist's perspective and underscores the untrustworthy, duplicitous nature of memory, allowing the character to perpetually recreate false realities.

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The AV Club
5 September 2000 · Scott Tobias

The critic describes the film's complex reverse-chronology structure as an exhausting but masterful exercise in narrative architecture that ultimately delivers profound existential insights into memory and self-deception beyond mere gimmickry.

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Ordered by the weight we give each publication, then by score. Scores are normalised to 100; * means inferred from an unrated review. Summaries are ours, not quotations; follow the links for the reviews themselves. How we rate