The Hollywood Reporter by Frank Scheck

Christopher Nolan's noirish thriller is an uncommonly polished and assured feature debut, highly clever textually and supremely accomplished technically. This ultra low-budget exercise marks the emergence of a significant directorial talent. [13 April 1999]

The New York Times by Janet Maslin

The usual elements of scheming and deception are well represented here, but they are made all the knottier by shifting time frames.

Total Film by Staff [Not Credited]

Impressively acted by the unknown cast, and eerily shot in black and white, Nolan successfully creates his own distinctive cinematic world, leaving en route a trail of objects which may or may not have any meaning.

Miami Herald

Following is a pitch-black crime story, but never forgets its gentler side. It is, at 70 minutes, a slim movie, but by the time it concludes in inevitable tragedy, Nolan's characters have accomplished something rare for an openly nihilistic work: sympathy. [10 Sep 1999, p.10G]

San Francisco Chronicle by Mick LaSalle

That the movie succeeds as thoroughly as it does -- getting deeper and creepier as it goes along -- is evidence of a far-seeing creative imagination. Nolan is a compelling new talent.

Miami Herald by Phoebe Flowers

Following is a pitch-black crime story, but never forgets its gentler side. It is, at 70 minutes, a slim movie, but by the time it concludes in inevitable tragedy, Nolan's characters have accomplished something rare for an openly nihilistic work: sympathy. [10 Sep 1999, p.10G]

Los Angeles Times by Kevin Thomas

As a psychological mystery it plays persuasively if not profoundly. Nolan relishes the sheer nastiness he keeps stirred up, unabated for 70 minutes. You can, too, provided you don't ask more of it.

Chicago Sun-Times

It's an ambitious undertaking, this mix of Mamet and Godard, and it is to Nolan's credit that he takes it on so early in his cinematic career. It doesn't completely click, but there is plenty in this 70-minute black-and-white exercise to keep us involved.

Chicago Sun-Times by John Petrakis

It's an ambitious undertaking, this mix of Mamet and Godard, and it is to Nolan's credit that he takes it on so early in his cinematic career. It doesn't completely click, but there is plenty in this 70-minute black-and-white exercise to keep us involved.

Boston Globe

There are moments in Christopher Nolan's thematically ambitious film noir that make you wish he had the time and money and, to a certain degree, talent, to fulfill his lofty goals. [11 Feb 2000, p.C9]

Austin Chronicle by Marc Savlov

Unnerving and occasionally witty, were it not for its weak third act, Nolan's film might fall just short of genius. As it is, though, it's unique nonetheless.

Variety by Dennis Harvey

Climactic triple-cross is a satisfying payoff, though scenarist-helmer Nolan doesn’t really sock across any possible point of emphasis – black humor is soft-pedaled, suspense just middling, and the character writing keeps classic fall guy Bill a bit too blank-slate to incur much sympathy.

Boston Globe by Michael Blowen

There are moments in Christopher Nolan's thematically ambitious film noir that make you wish he had the time and money and, to a certain degree, talent, to fulfill his lofty goals. [11 Feb 2000, p.C9]

Village Voice by Michael Atkinson

Following is modest and engaging, but in being strenuously clever, it surrenders any dibs it might have on being relevant, or original.