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KILLERS In Killers, Ashton Kutcher plays a seasoned CIA assassin, which is only slightly more believable than Miley Cyrus portraying Scarlett O'Hara or David Spade tackling General Douglas MacArthur. His character, Spencer Aimes, is tired of his bloody lot in life, though, so after he meets the sheltered Jen Kornfeldt (Katherine Heigl), he quits the hitman biz and marries her, never bothering to tell her about his dubious profession. Cut to three years later, where we find the pair living in petrified bliss — that is, until his past comes back with a vengeance. The idea of a suburban setting as a front for illicit activity is fairly original, and this could have made for a sharp satire. Instead, everyone blows their assignment. The ham-fisted direction is by Robert Luketic, who previously teamed with Heigl on the worst film of 2009, The Ugly Truth. The forced banter between the stars comes courtesy of scripters Bob DeRosa and Ted Griffin, who apparently never met a dreadful line of dialogue they didn't like. Yet reserve the main brickbats for Heigl, who once again uses variations on her single, solitary, thespian expression (wide-eyed wonder) to play the only role she ever tackles in movies: the annoying, neurotic pill whose ill-placed air of superiority can't disguise the fact that she's an intolerant nincompoop. *
KNIGHT AND DAY Cameron Diaz did some of her best acting when she was cast opposite Tom Cruise in Vanilla Sky, but the difference between that dark mindbender and this sunny concoction is as glaring as the difference between... well, I'm not gonna say it. The similarity between the films, though, is obvious — specifically, the fact that Cruise and Diaz again prove to be an engaging team. Diaz here plays June Havens, an innocent who gets sucked into the high-voltage world of secret agent Roy Miller (Cruise). Roy repeatedly insists to June that he's actually an honorable FBI agent who's been set up by his colleague (Peter Sarsgaard) as a way to cover up his own nefarious actions; June doesn't know whether to believe him, although she does know that he's remarkably adept at keeping her alive whenever danger appears. Director James Mangold and writer Patrick O'Neill mean for none of this to be taken seriously, but even escapist popcorn fare should have some semblance of intelligence. Instead, Knight and Day is often so preposterous that it makes The A-Team look as complex as L.A. Confidential by comparison. Luckily, Cruise and Diaz both have their movie-star wattage burning bright, and their easy-going rapport makes the whole confection go down easily. **1/2
THE LAST AIRBENDER This live-action spectacle is based on the animated series Avatar: The Last Airbender, and were writer-director M. Night Shyamalan really as brilliant as his admirers insist, he would have demanded that the studio retain the word Avatar in the title — that act alone could have added an extra $10 million to the coffers from ill-informed folks thinking they were going to witness a sequel to the James Cameron smash. Left to its own devices, though, it's difficult to ascertain whether the picture's good-but-not-great gross is enough to warrant its planned sequels or not even enough to allow Shyamalan to Super-Size his next fast-food order. Unlike most of the family-friendly films of today, this has nothing to offer adults — it's strictly kid stuff all the way. That may not be the case with the source material, but it's unlikely anything here — beyond some of the special effects — will capture the imagination of anyone over 12. Those effects are occasionally excellent, and they're the only things that provide any pulse to an otherwise poorly executed story of how one young lad, Aang (Noah Ringer), proves to be the only person in his world with the ability to control all four elements of air, water, fire and earth. This is a clunky, soporific undertaking punctuated by some truly cringe-worthy dialogue. *1/2
