Knox Goes Away (2023) Review!!

Synopsis – When a contract killer has a rapidly evolving form of dementia, he is offered an opportunity to redeem himself by saving the life of the adult son with whom he had been estranged.

My Take – A hit-man with a spotless record facing an unexpected challenge is probably the synopsis of a dozen crime thrillers that release every year. And in his sophomore directorial effort Michael Keaton, who once again casts himself as an assassin facing emotional turmoil following his previous venture, The Merry Gentlemen (2008), throws in an aggressive form of dementia in an attempt to make things interesting.

Playing out somewhat like an uncomplicated neo-noir version of Memento (2000), this one is not your typical hit-man film with a high body count, but is instead more interested in setting the stage and creating a mystery, allowing Keaton to switch from being charismatic to a wild-eyed dynamo with explosive potential to be a hero or a villain.

And though he walks away with a solid performance to his credit, the resulting film ends up being a narratively flawed crime drama that is predictable yet engrossing. Undercut by stilted dialogue and pacing that turns what could have been a fun thriller into an experience that’s sometimes laughably frustrating. Thankfully, the portrayal of the progression of dementia adds a unique layer to the story.

Backed by a strong supporting cast and brooding noir execution, the film’s sophisticated themes work until the labored third act where the protagonist’s intricate plan to rectify all woes feels unbelievable especially considering his deteriorating condition. Plus, there are too many variables in play, but at least every character is well-developed. Making this one an easy-to-watch hit-man mystery that can be streamed and quickly forgotten.

The story follows John Knox (Michael Keaton), an aging contract killer, who along with Thomas Muncie (Ray McKinnon), targets bad people who’ve run afoul of their crime lord boss, Xavier Crane (Al Pacino). He is basically a bad guy with a brain, who apparently has two PhDs, once taught at Bucknell, and also served in the military. With his only actual company being Annie (Joanna Kulig), a Polish sex worker who has been visiting him for the past four years, and shares his interest in books.

But now diagnosed with Creutzfeldt-Jakob disease, a rapidly degenerative form of dementia, he is given only a few weeks before he loses his faculties completely. Naturally, Knox starts by getting his affairs in order; he cashes out an unusual retirement fund, updates his will, and shares the grim news with Xavier. But his exit strategy is disrupted when his estranged son Miles (James Marsden) shows up on his doorstep, covered in blood. He’s killed someone, and he needs help covering it up.

So, naturally, Miles turns to his killer dad. This turn of events gives John an idea of how to both help his son and prepare for the end of his life as we know it, he just has to enact his plan before he can’t remember how to do it. And despite having a policy of goodwill for killing, Knox finds himself in a race against the authorities particularly a smart one, Detective Emily Ikari (Suzy Nakamura), who is after the killer with her on-point theories.

The films follows the crime noir playbook with deft precision. As a director Keaton knows how to establish a bleak mood and atmospheric tension. There are a couple of twists and turns along the way, but he mostly sticks to old-school film techniques to draw the audience into Knox’s plight.

Written by Gregory Poirier, the film explores the seven weeks of his deterioration. Using jumbled imagery, muffled sound effects, and vacant facial expressions to illustrate Knox’s confusion. He gets lost and forgetful in the moment, but somehow still has the ability to follow through on complex machinations. This may have been initially possible given his innate skill.

But it’s a cavernous stretch as the disease progresses. You can see the outline that drew Keaton to the script, and Knox himself is a meaty role that gives an actor the chance to slowly fade away. But the screenplay is a mishmash of tones and tropes that fall completely flat in the second half.

But instead it’s the father-son dynamic that provides the film’s emotional backbone with a gripping portrayal of regret, reconciliation, and shared character traits. Knox isn’t cold-blooded or unsympathetic, he accepts his failure as a father. Miles understandably didn’t want to be a part of his world, and Knox understands why his son would reject any association with a murderer. Their years apart did not foster ill will and there is still trust between them. Knox prods his son to dig deep and find the courage he gave him as a boy.

And the performances alone are worth the price of admission and the relationship dynamics are superbly built up. Michael Keaton has been very consistent throughout his career, so there is nothing to point out about him. His conviction in the role makes you believe in his character. Though his screen time isn’t fulfilling, it’s a hoot to see Al Pacino playing such a gleefully sleazy eccentric. Incredibly, these two stars have never appeared in a film together before.

James Marsden, sheds his signature nice guy swagger and turns in a performance blistering with fear and rage. Marcia Gay Harden pops up for a powerful scene. In supporting roles, Suzy Nakamura, Ray McKinnon, Joanna Kulig, John Hoogenakker, and Lela Loren are decent. On the whole, ‘Knox Goes Away’ is a slow-paced and flawed crime thriller starring an exceptional Michael Keaton.