Unknown

Begins intriguingly, with a nice, coldly logical dissection of the array of mystery men and their apparent motives, but it quickly becomes clear that Waynee’s screenplay exists largely to jerk his audience around in what becomes a rather frustrating way; as the twists and double twists and triple twists start to pile up, the mechanics become more and more apparent and dissipate any dramatic interest. Comparisons to MEMENTO are interesting (especially with Pantoliano and Boone around), but Nolan’s film had Pearce’s searing characterisation front-and-centre, with no comparative anchor here.