
Tom Cruise is a covert agent sent on a mission he was never meant to complete, and Cameron Diaz is a woman caught between the agent and those he claims set him up. As their globetrotting adventure erupts into a maze of double-crosses, close escapes and false identities, they come to realize that all they can count no is each other.
[yt]http://www.youtube.com/watch?v=-0cSz62nq9Y[/yt]
The good reviews:
Roger Ebert said:The wonder is that Cruise and Diaz are effective enough in their roles that they’re not overwhelmed by all the commotion surrounding them. They make the movie work because they cheerfully project that they know it’s utter nonsense and pitch in to enjoy the fun. I’ve been reading that movie stars can no longer “sell” a blockbuster movie. Audiences buy the concept, brand name, packaging, whatever. If that’s true, which I doubt, it would mean a victory of technology over humans. If it comes true, it will be because movies have lost interest in creating and shaping characters we care about — because they’re using actors as insert shots in special effects.
Christie Lemire said:Cruise's presence also helps keep things light, breezy and watchable when the action — and the story itself — spin ridiculously out of control. That's the pervasive joke in James Mangold's film, based on a script by Patrick O'Neill (and an action picture is yet another random entry in the director's filmography, following "Girl, Interrupted,""Walk the Line" and the remake of "3:10 to Yuma"). "Knight and Day" is supposed to be a mission that's impossible, but gleefully so.
Drew McWeeny said:Watching "Knight And Day" a month after the release of "Killers," the first thing that struck me is that a side-by-side comparison of the first thirty minutes of each film is a perfect lesson in the difference between a movie star and a pretty face. They both start from a similar premise, although written in very different ways. In both, the lead actor is a spy/assassin who meets a totally normal girl and then drags her into his world. Ashton Kutcher seems focused on looking cool in his film, working as hard as he can to strike a pose like each scene in a still page in a fashion magazine. Kutcher's still working the same spoiled pout he picked up in the film "Spread," and it's sort of ridiculous.
Meanwhile, Cruise is well aware of the value of a precisely struck pose to sell an action scene, but he also seems dedicated in "Knight and Day" on deconstructing that pose and poking fun at it at the same time. It's a tricky thing to pull off, tone-wise, and if you do it wrong, you're making "Hudson Hawk." Or you're just making an action movie. More often than not, filmmakers trying for this sweet spot where you are gently ribbing the exact thing you're doing fail at it. They tip their hand in some way and the whole thing just falls apart, collapses under the weight of all the clever.
The bad reviews:
Kirk Honeycutt said:Logic and plausibility take a holiday in this nonstop actioner that counts on stars Tom Cruise and Cameron Diaz to sell the nonsense.
Justin Chang said:The locations change as often as the outfits in "Knight and Day," a high-energy, low-impact caper-comedy that labors to bring a measure of wit, romance and glamour to an overworked spy-thriller template. Busy when it should be fizzy, and rather too fond of using a barrage of bullets or sudden blackout to cut short its so-so comic banter, this inelegant contraption still delivers the requisite eyeful, mostly by way of Tom Cruise and Cameron Diaz.
Lexi Feinberg said:There is a ton of talent wasted in James Mangold's "Knight and Day," a movie that relies on heart-pounding sequences, collisions and high body counts to distract from Patrick O'Neill's flimsy script, which really doesn't make a lick of sense. Off the bat, there is a woefully-miscast Cameron Diaz as a love interest for Cruise; they have manufactured chemistry at its worst. She alternates between screeching, making googly eyes at him and looking confused -- it's a role better suited to someone like Jessica Alba, who can't do much else. Even more tragic is seeing Peter Sarsgaard, Viola Davis and Paul Dano stuck in such unmeaty roles.