Lighthearted on the surface yet cold at its core, the action comedy Knight and Day hops the globe from Boston to Salzburg to CÃÂ¡diz. But even the remarkable sight of bulls running through Spanish streets - real bulls, real Spain, big budget - is eclipsed by the monumental scale of the heads of Tom Cruise and Cameron Diaz, the stars who play boy-secret-agent meets girl-next-door in this studied exercise in romantic spy-jinks. Jeepers, but their heads are big - Easter Island-statue big! In the very first shot of the very first scene, set in the Wichita, Kan., airport where Roy (Cruise) is in transit undercover, the entire horizon is momentarily blotted out by the back of the actor's noggin. We admire his haircut at our leisure. Eventually the camera pivots so we can appreciate Cruise's magnified cheekbones, his teeth, his choice in sunglasses. Then Roy strategically bumps into June (Diaz), a restorer of classic automobiles (you got a problem with that?) on her way to her sister's wedding in Boston. The couple lock gazes; they were strangers once, but no more. (Cruise and Diaz worked as costars nine years ago in Vanilla Sky.) And lo, we're temporarily blinded by the size of Diaz's blue eyes and the expanse of her pink lips as they fill the frame. Anytime Roy and June share a scene - which is often, since Knight and Day presumes a belief in an attraction between the two - director James Mangold goes for an extreme close-up, first of his famous mug, then of hers. A mere mortal might be reduced to whimpers by such scrutiny. These guys, they just glow.
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