For me, there must be no gaping holes, and no deus ex machina — a fancy way of saying that it can’t explain logical gaps by making shit up. Ideally, the device causing the gap is simply cut. Barring that, don’t try to explain, just keep moving so relentlessly fast that I’ve no time to consider the soft spots. So fast that I’d feel like a dick for picking nits.

Salt slows enough at a spot (maybe two) in the second half that it threatened to break the rules, but didn’t quite, IMO. I do think the filmmakers expected to get more mileage from our extended uncertainty whether Evelyn Salt is a mole or not, but the audience for a Hollywood picture (including me) isn’t conditioned to stay torn on that question and let it color the story unless you serve them clear reminders. A quieter, less-Hollywood picture might get that benefit organically. Salt is not quiet. I suspect a typical viewer decides early if she’s good or evil, and flip-flops a little, but isn’t in suspended tension on the matter. That’s the biggest miss here.

As mentioned elsewhere, if you like this kind of picture, Salt is absolutely worth the rental (or HBO, etc.), so I agree with Kevin. If you’re in that group, should you invest a theater trip? That’s a jump-ball that tips maybe one way if you’re curious about the Albany locations or just want to get out, maybe the other if not.

LQ