One of the best movies of 2000, and certainly one of the most creative

Rating: 10/10 (12 November 2006)

Leonard Shelby's wife is raped and murdered on night, but not before he suffers a devastating head injury. Unable to form new memories, he must find his wife's killer, relying on notes jotted down on Polaroid pictures and tattoos scrawled across his body as a source of memory.
This is easily one of the best neo-noir movies ever made, complicated but not too confusing, and boasts an innovative premise: it starts from the end, and works back to the beginning. There are two story lines: the main one is in color and progresses backwards, and another one in black and white that moves forward. The black and white thread ends where the color one begins. This devilishly twisted approach creates an intriguing setup and works magnificently through the movie. Clues pop up in both story lines and questions are asked, themes interspersing the movie that all culminate with a stunning twist ending that will have you questioning your surroundings for a while afterwards.
Fine acting keeps the movie grounded and totally believable. Guy Pearce excels as Leonard, the former insurance investigator who's life is shattered. You understand his desperation to find his wife's killer, his frustration at his condition, and his paranoia that sifts through the film: is he being manipulated? Who does he trust? Joe Pantoliano does a great job portraying a shady character who may or may not be an ally to Leonard. And Carrie-Ann-Moss depicts an externally friendly woman whose aura of hospitality masks sinister intents.
Not to give it all away, but unlike M. Night. Shymalan's work, you can predict the ending. It just takes a good eye for clues and an ability to remember them despite the advances in the plot. I was shocked by the ending, but the second time I watched it I realized I could have pieced it together by myself.
One of Christopher Nolan's finest works, hands down. I just hope he keeps it up.