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Heaven Is for Real

Faith-based film tries reaching past its audience, but falls back on preaching to its own choir way too much.

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Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…

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Monsieur Hire

Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common. It involves a…

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* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.

Salt: It's a movie! It's a spy! It's a nuclear antiproliferation treaty!

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Phillip Noyce's (and definitely Angelina Jolie's) lean and unpretentious "Salt" is proof positive that dumb summer thrillers don't have to be stupid. That is, it revels in absurd implausibilities that are as outrageous as in the movie playing the next auditorium down the hall (and the one next to that), but it never breaks a sweat trying to convince you that it's anything other than what it is. The difference between "Salt" and most ludicrous trying-too-hard action movies is a matter of grace under pressure: a veteran director with a firm command (and respect for) the integrity of screen space; a stripped-down screenplay that gives you just enough exposition to create suspense and keep you guessing about what's going on (What's she doing? Why is she doing it? Does she know why she's doing it?); and an iconic leading lady whose poise is exceeded only by her stubborn resilience.

And then there's her face, which is the real subject of the film. You won't find a more thrilling moment in summer movies than the shot -- "Queen Christina" via "The Scarlet Empress" -- of Jolie's Evelyn Salt, wearing a Russian fur hat and wrap, standing on the Staten Island Ferry, with Ellis Island in the distance. The camera moves in on her from behind, causing the distant silhouette of the Statue of Liberty to sweep across the horizon from right to left, then swings around her into a breathtaking close-up profile. The whole movie is contained in that shot, from a far shot of the abstract Lady Liberty, into a close-up of another statuesque lady of questionable loyalties. (I couldn't help but think of Truffaut dollying around the stone bust of the Greek goddess with the serene, unreadable expression in "Jules and Jim" -- Jolie's Eve(lyn) being as mysterious and even more deadly than Jeanne Moreau's Catherine who, after all, was not CIA.) The shot has nothing to do with the plot; it just serves to get Salt to a rendezvous with a Russian sleeper cell. But it's a great movie-star moment, the kind of image you could imagine being built around Garbo or Dietrich or Ingrid Bergman.

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