Academy Award-winner Michael Keaton, perhaps best known for iconic roles in Beetlejuice and Tim Burton’s Batman films, has not been behind the director’s chair for a project since 2009’s The Merry Gentleman. As his second-ever directorial feature, part-noir thriller/part-darkly comic drama Knox Goes Away provides a perfect starring vehicle for the aged actor. With an excellent supporting cast to back him up—including James Marsden (Enchanted, X-Men), Marcia Gay Harden (The Mist, Mystic River), and Al Pacino (Scarface, Prime Video’s Hunters)—Keaton remains at the top of his game.
John Knox (Keaton) may still be carrying out assassination efforts on the most despicable of targets—he specifically only kills bad men—but earth-shattering news sends him reeling towards an unexpected endgame. Knox has been diagnosed with Creutzfeldt-Jakob Disease, a severe, fast-acting iteration of dementia. The doctor gives a mere weeks to months before Knox loses normal day to day functionality. There is no treatment. Knox can only start to make arrangements for the rough road ahead.
Things go awry quite quickly. During a mission to eliminate a human trafficker, Knox has an episode where he becomes disoriented. Additionally, Knox’s estranged son (Marsden) comes to his father’s doorstep bleeding; the predicament he finds himself in can only be resolved by Knox’s expertise at disposing bodies. Keaton portrays the singularity of Knox’s experiences through fluctuations in sound, as well as physical fade-outs. The specificity of Creutzfeldt-Jakob Disease adds an extra layer to an already engaging thriller. Around each bend, there is truly no telling how Knox can or will be affected.
As Knox’s world unravels, detectives swirl, threatening to break down everything Knox has built. Knox Goes Away remains so engaging throughout its nearly two-hour runtime thanks to Keaton’s nuanced performance. It helps that he surrounds himself with additional actors on their A-game. Marcia Gay Harden stars as Knox’s ex-wife, and film legend Al Pacino acts as a mentor figure. Impressive acting should come as no surprise, but Keaton’s directing prowess was rather unexpected. He has an extraordinary grasp on pacing, fine-tuning a sharp script from Gregory Poirier (See Spot Run, National Treasure: Book of Shadows) with ease.
For those hungry to see what tricks Keaton will pull out of his hat next, Knox Goes Away proves a somber, fitting entry into the seasoned actor’s filmography. As it counts out the weeks of Knox’s deterioration post-diagnosis, viewers will be on the edge of their seat to see how this tale resolves. Personally, I really enjoyed the juggling of tones and noir elements. Don’t miss a captivating, altogether moving story of a contract killer at the end of his rope.
Prepare for the worst when Knox Goes Away, making final arrangements exclusively in theaters on Friday, March 15th.
Hey Josh, thanks for the review of “Knox Goes Away”. Michael Keaton is a favorite, and a hitman with dementia sounds like a challenging but potentially rewarding role for him. The estranged son element adds another layer of complexity.