Description
An intricate crime story about a man who has lost his short term memory due to a rare brain disorder. Now he is out to catch his wife's murderer, whose identity he cannot ever know for sure. The more he tries to figure out what is true and real, the more he sinks deeper into a multi-layered abyss of uncertainty and surprises.
Subjects
Language
Original language
English
Original publication date
2000
Physical description
7.75 inches
Publication
Sony Pictures Home Entertainment (2002)
ISBN
0767868854 / 9780767868853
UPC
043396065987
Similar in this library
300 by Zack Snyder
Awards
National Film Registry (2017)
User reviews
LibraryThing member themulhern
The last unpretentious movie Nolan ever made. After this movie the clever concept was overwhelmed by the excess budget.
LibraryThing member comfypants
A man with no short-term memory kills somebody.
It's an engaging film, although now that the novelty has worn off it's hard to see what all the fuss was about.
Concept: B
Story: B
Characters: C
Dialog: B
Pacing: B
Cinematography: C
Special effects/design: B
Acting: B
Music: B
Enjoyment: B
GPA: 2.8/4
It's an engaging film, although now that the novelty has worn off it's hard to see what all the fuss was about.
Concept: B
Story: B
Characters: C
Dialog: B
Pacing: B
Cinematography: C
Special effects/design: B
Acting: B
Music: B
Enjoyment: B
GPA: 2.8/4
LibraryThing member jgcorrea
Memento is a labyrinth of memories and identity, masterfully crafted by Christopher Nolan. This film is a testament to the power of nonlinear storytelling, as it challenges traditional narrative structures, leaving our minds ablaze with introspection. With each scene meticulously pieced together,
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we question the very nature of truth, perception, and the fragility of our own recollections. A cinematic puzzle that demands our engagement and rewards us with a deeply layered exploration of existential themes Show Less
Media reviews
Memento is simultaneously the ultimate stoner film, a noirish thriller and a brilliantly enacted investigation of the philosophical questions of time and memory. Remembering, the film makes clear, is not simply the opposite of forgetting. Forgetting, as Pynchon observed of ignorance, is not just a
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blank on the map; it has its own contours and laws, its own hunger. It is forgetting, after all, that makes memory possible. Total recall is close to complete amnesia. In Borges‘ famous story “Funes, His Memory,” the character who remembers everything -- “not only every leaf or every tree in every path of forest, but every time he had perceived or imagined that leaf” -- ends up like Shelby, who remembers nothing: “His own face in the mirror, his own hands, surprised him every time he saw them.” Show Less
The American Prospect
Working from a short story by his brother, Jonathan Nolan, this newcomer has created a perfect movie: perfect in its form (witness the absolute "movieness" of its segmented takes, its backward logic, its pieced-together, visualized version of memory) and perfect in its measured effect on us.
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Memento gives us exactly as much as we are capable of absorbing and using-no more, no less. It cups us in its hands, plays with us for the duration, and then sets us free by allowing us to spring the catch. Show Less