June is going home for her sister’s wedding toting a mess of car parts from a junkyard in Wichita apparently the best place in the country for scrap parts. At the airport she twice bumps into a mysterious fellow with dynamite bangs. Just when she feels she might be falling for him she returns from the airplane lavatory to find he has killed everyone onboard. What follows is 110 minutes of your life siphoned painfully from you that you can never reclaim.
Knight and Day is the pinnacle of studio laziness: two pretty people forcefully crammed into an empty vessel in the hopes that their celebrity will dupe more than a few rubes into buying a ticket. This movie is lifeless; it has no pulse from beginning to end. I’m not naive. I know why movies like this exist and I know that I am not the target audience. But what really burns me about Knight and Day is that it fails to deliver on the one note on which movies like this typically bank: cheap romance.
The principal design of a film like this is to provide masturbatory fantasies for people who read gossip magazines. When you are making a film in that vein the only requirement of you is to create chemistry and steaminess between your two leads. Knight and Day managed to fashion a film like that without spending a lick of effort to create sexual tension between the characters. At no point in the film did I feel like they had a relationship -- or that they were even interested in one another -- until I was explicitly told that it was true.
Most of the absence of heat between them is a product of two veteran movie stars who obviously could not care less about the film they are making. If you are a fan of either Tom Cruise or Cameron Diaz I would highly suggest taking a trip to Madame Tussauds and staring at their wax likenesses because they will offer more skilled performances cast in wax than they did on screen. If Cruise’s performance were any more phoned in AT&T would’ve sponsored the film. To counterbalance that Diaz is a complete doorknob. Her “fish out of water” routine more often than not devolves into completely inauthentic stupidity and emotionless non-reactions. And I’m sorry Tom but even you have to exert yourself just an iota to be charming.
The plot of the film isn’t just generic it’s insultingly stupid. Take the actors out of the film -- hell take away the fact that the film exists -- if you were to recount the plot points of Knight and Day to someone as if it were a story that person would think you a moron. MacGuffins about batteries characters identified by their naiveté suddenly becoming fully cognizant of complicated schemes and being pretty serving as the only criterion for graduating to superspy all expected to be swallowed as fact.
At least it’s an action film so there are moments of sheer entertainment right? Wrong! The action scenes are as bland and unsatisfying as the rest of the script and offer little more than sweet retreat from the idiocy of the plot and the inadequacy of its cast. Please do not waste your time money or brain cells on this unmitigated garbage. If we collectively say no to movies like this perhaps the next summer vehicle for pretty people will have the good decency to be mediocre.
Writer/director Brian Goodman bases this gritty look at a couple of tough guys growing up in South Boston on his own experiences. The reality he brings to the table is what makes this compelling tale a notch above others in the same genre. We first meet Brian (Mark Ruffalo) and best pal Paulie (Ethan Hawke) as they are caught up in a violent armored car robbery. Their entrée into a life of low-level crime is detailed early on in flashbacks in which they are operating under the guidance of a local criminal Pat (director Goodman). Catching up with them in the present day about 12 years later Brian is now married and has two sons while Paulie is determinedly single. Neither has graduated past the workaday life of the average hoodlum and are still taking their lead from the no-good Pat who decides to teach Brian a lesson by gunning him down and leaving him for dead in the snow. Time in prison -- and a conflict between the two friends -- make up the core of the film’s final act when decisions must be made about the eventual paths their lives will take. Fulfilling his promise as one of the screen’s most underrated actors working today Mark Ruffalo gets a three-dimensional role with real guts and complexity. His sterling performance is gritty and finely detailed immersing himself into this low-life loser who is desperately trying -- and failing -- to lift himself up and find a new life. Ethan Hawke is equally fine even if we just saw him play a similar role last year in Sidney Lumet’s similar crime drama Before the Devil Knows You're Dead. Like Ruffalo Hawke completely throws himself into the mind of a Southie and captures the essence of such a character. It’s the two actors’ increasingly conflicted -- and at turns polar opposite -- relationship that makes up the heart of What Doesn't Kill You. Goodman as you might imagine acquits himself nicely in the local criminal role and Amanda Peet nicely underplays Brian’s suffering wife. Donnie Wahlberg (who co-wrote the script) is from that part of the city and adds a good deal of authenticity to his smaller detective role. Brian Goodman an experienced and seasoned actor turns to writing and directing for the first time with remarkably assured self-confidence and a command of exactly what he wants to say. Certainly he’s covering an area he knows well having lived this life in the exact locales in which he’s shooting. With the atmospheric dark gray cinematography of Chris Norr and Robert Hoffman’s sharp editing Goodman’s film delivers with just the right amount of grit and street violence. Mostly though it’s a strong character study. The combination of Goodman’s expertise on the subject and his lead actors’ superlative interpretation pay off in making What Doesn't Kill You so extremely effective. It’s a fascinating and informed look at a place most people will only get to know through the movies.