Salvation proves to be a tasteless folly of grand proportions from a filmmaker struggling to find new relevance in a fixation that for too long has fuelled his art.
The final moments have an unexpected snap of black humour and suspense, and every so often we are astonished by an image of striking beauty and strangeness.
[Cox's] own views on modern-day evangelical Christianity are so strong that a snide mockery overpowers the film, undermining its comedic yield and draining it of nuance.
At his best, Cox is a wonderful observer of the human condition, but he doesn't seem particularly inspired by the story or the characters in Salvation.
True to his creative, eccentric and mischievous self, Paul Cox has made another film in which he spins a web of man's own doing, a wry, acidic tale that unmasks televangelists as fakes and moral dwarfs.
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