“Craig,” played by John Cusack, and “Lotte” (Cameron Diaz) are married, though their relationship seems more like a practical arrangement as they both face financial difficulties. Craig earns a living as a puppeteer, which lets him indulge in creative fantasy, but it doesn’t provide enough income. To make ends meet, he finds work at a New York office building that feels straight out of a Lewis Carroll story – cramped elevators, low ceilings, and an overall peculiar atmosphere. He develops feelings for his coworker “Maxine” (Catherine Keener), but she isn't interested in a romantic encounter with a married man who looks like he’s seen better days. Craig is disheartened until he discovers a small door hidden behind a filing cabinet. Curiosity gets the better of him, and he crawls through what seems like a rabbit hole, only to find himself looking out from the eyes of Hollywood legend John Malkovich. After fifteen minutes, he's ejected onto the side of a nearby highway. When he tells Maxine about it, she initially dismisses him as crazy but then sees the potential for a profitable tourist attraction. “Lotte,” also skeptical, decides to try it herself, and that’s when a series of unusual experiences begin – multiple trips inside the mind of the unsuspecting actor, which seem capable of influencing his behavior, not always in a positive way. It takes some time for the story to really get going, but once everything is established, the writing and acting work together well to take you on some bizarre and confusing journeys. Picture those nagging thoughts in your head now residing inside someone else's mind. Your actions are your own, yet they aren’t entirely yours. You watch yourself change before your eyes without being able to explain it. There's also plenty of mischief, a rather unpleasant scene involving an omelette, and, as you might expect, the familiar aspects of their marriage completely derail, as “Lotte” and “Maxine” realize they can use their new host for a surprising advantage. The humor is often uncomfortable, blending nervous anticipation with more obvious physical comedy. It’s a well-balanced cast, with performers playing off each other effectively, and Orson Bean adds an enjoyably sleazy element as the sex-obsessed “Lester,” all leading to an ending that's both unfinished and unconventional. Not everything always succeeds, but it is original and moves along entertainingly and thoughtfully for nearly two hours of very strange self-exploration.

Source on TMDB