As students at the United States Navy's elite fighter weapons school compete to be best in the class, one daring young pilot learns a few things from a civilian instructor that are not taught in the classroom.
June has a garage in Boston. At an airport heading home, a man bumps into her a few times and tries to keep her off the plane. He's under FBI surveillance; they wonder if he and she are working together, so they let both on a flight full of armed men wanting to arrest the stranger. He's Roy, he shoots his way out of trouble and tells her she's in danger. She's home the next day, miraculously, when agents pick her up; Roy saves her again, and a transcontinental chase ensues with Roy convincing her that he's the good guy, protecting an energy source that a rogue agent wants to sell on the black market. Can she trust Roy, and will trust matter when the bullets start flying?Written by
When the FBI reviews the tapes from the diner, the dialogue spoken by Miller is different than in the earlier scene. (Originally he says, "Pie is fine. Pie for everyone. But no Al la mode. Ice cream makes the legs weak..." In the FBI review scene he says "Pie is fine. Pie for everyone. But no ice cream".) See more »
An 'Extended Cut' is available in Region 2 (UK and Europe), Region 3 (Asia) and Region 4 (Australia & NZ). It adds eight minutes of footage, mostly extended versions of existing scenes, as well as a new opening scene that better establishes June Haven's profession as a mechanic. The 'Extended Cut' was released on Video On Demand in North America, but as of January 2011, it has yet to receive a Region 1 release. (See the FAQ page for more details.) See more »
Although far inferior in both concept and results, "Knight and Day" has its roots in the classic screwball comedies of the 1930's. Cute, seemingly coincidental airport encounters connect an attractive blonde, Cameron Diaz, who is en route to her sister's wedding, with a handsome man of mystery, Tom Cruise, and a series of wildly improbable events ensues. An early scene aboard a near-empty airliner is perhaps the film's highlight, as Cruise does battle with unknown assailants, while a blissfully unaware Diaz primps in the restroom, intent on seducing Cruise. Perhaps if the humor and pace of this scene had been sustained, the film would have been more successful. If Cary Grant were the dashing stranger and Katharine Hepburn the unwitting accomplice, the film would have been classic.
However, while they are attractive leads, Tom Cruise and Cameron Diaz are not Grant and Hepburn. Although the pair have undeniable star power and seem to be having fun, their eyes were likely focused more on the paycheck than on the superficial script which lacks the witty exchanges of classic screwball comedy. Also appearing for the money is a talented supporting cast that includes Viola Davis, Peter Sarsgaard, and Paul Dano; unfortunately, none of these gifted performers have roles that stretch their acting skills. With chases, gunfights, and rapid cutting, director James Mangold keeps the film moving at breakneck speed as the cast chases a "McGuffin" in the form of a super battery, whose importance is often lost in the sometimes confusing proceedings.
Although even the classic screwball comedies stretched credibility, Mangold's film uses CGI to create sequences that are beyond preposterous. At times, Cruise seems to be a super-hero with supernatural powers; his close encounters are unbelievable even for a Batman or Fantastic Four. As the complicated plot unfolds, the characters' motivations seem to shift, and the audience is kept guessing as to who can and cannot be trusted and who is working for whom. The action, light comedy, and appealing performers will hold viewer interest throughout, although, like cotton candy, this fluffy piece will fade from memory before the closing credits finish rolling.
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