Salt (review)
*Salt* works. As in breathless-nonstop–action-intensity works. Oh, sure, it’s nutty-as-a-fruitcake insane at the same time, but being this hugely entertaining goes a long way toward making you not want to laugh at it.
*Salt* works. As in breathless-nonstop–action-intensity works. Oh, sure, it’s nutty-as-a-fruitcake insane at the same time, but being this hugely entertaining goes a long way toward making you not want to laugh at it.
DCI Sam Tyler has an accident in 2005, and wakes up in 1973. Has he fallen down a rabbit hole, or is he following the Yellow Brick Road?
Lo and behold and WTF, here’s adorkable Jay Baruchel getting molested by dancing mops as the literal replication of a 70-year-old cartoon forces its way into a movie where it clashes tonally, interrupts the plot, and just plain makes no sense.

My mind is blown. It is. Just not quite as blown as I was expecting it to be.
Sort of a Xerox copy of the 1987 *Predator,* with the only point perhaps establishing Adrien Brody’s action creds, in case that Oscar for *The Pianist* starts holding him back from getting good work.
Made of spoilers. Don’t read until you’ve seen the episode unless you don’t care to have it spoiled for you.
Shyamalan wanted to leave us shaking our heads and marveling at a terribleness that was not merely terrible, but a terribleness that leaves you astonished at just how very, very terrible it is.
The sparkly vampire guy and the shirtless werewolf guy, they’re still fighting over perfect, perfect Bella, whose perfection extends to a delicate and supposedly adorable feminine idiocy…
Made of spoilers. Don’t read until you’ve seen the episode.
*Knight and Day* may have generic characters doing generic things in generic situations, but it’s got Movie Stars with huge white smiles looking pretty and being blandly inoffensive in exotic foreign locales. What’s that? You need more than that? Why do you hate Hollywood?