Michael Keaton’s Thriller is Engrossing But Flawed

Summary

• Stellar cast elevates father-son complexities
• Knox’s memory loss inconsistencies are detrimental
• Noir mood and tension create compelling atmosphere

Michael Keaton pulls triple duty as star, director, and producer of an engrossing but narratively flawed crime drama. Knox Goes Away has an erudite contract killer wrapping up his affairs after a tragic medical diagnosis. Those efforts become complicated when his estranged son shows up at his door in a dire predicament. A heavyweight supporting cast, brooding noir execution, and sophisticated themes work until the labored third act where the protagonist’s intricate plan to rectify all woes feels unbelievable given his deteriorating condition. There are too many variables in play, but at least every character is well-developed.

John “Aristotle” Knox meets his partner at their usual diner before proceeding to discuss a looming hit. Thomas Muncie (Ray McKinnon) gobbles a steak as Knox flags down the waitress for coffee. She reminds him that he’s already ordered. A slightly unnerved Knox tells Muncie he’ll be gone for a day on an important errand. Knox’s confusion becomes more apparent when he doesn’t remember which car is his.

Knox Goes Away

2.5/5

Release Date March 15, 2024

Runtime 114 Minutes

Writers Gregory Poirier

Pros

• A great cast all-round
• The father-son relationship is nuanced and engaging

Cons

• All pros are outweighed by the inconsistent use of memory loss

A Tragic Diagnosis

Saban Films

Dr. Burns (Paul Perri) delivers crushing news after an MRI. Knox is suffering from Creutzfeldt-Jakob disease, a rapid form of dementia similar to Alzheimer’s. The difference is that CJD strikes in a matter of weeks, not years. Knox is advised to alert his loved ones immediately. He calmly replies there’s no one to help. Knox gives a book to his weekly escort appointment, Annie (Joanna Kulig), before heading for the job with Muncie. He returns home trying to grapple with the aftermath of multiple shocking developments. The doorbell rings with a surprising visitor: Miles (James Marsden), his estranged son. He’s covered in blood and desperate. Miles never wanted anything from him…until now.

The script by Gregory Poirier (Rosewood, A Sound of Thunder) introduces Knox as meticulous and professorial. He isn’t a sociopath, despite the murder-for-hire occupation. Knox and Muncie target bad people who’ve run afoul of their crime lord boss, Xavier Crane (Al Pacino). There’s a distinct honor in settling scores with deserving scumbags. Knox prides himself on never leaving a trace of evidence. His razor-sharp mind calculates every permutation. The thought of losing his memory offers a welcome reprieve. The faces of everyone killed will vanish in the ether, but Miles throws a spanner in the works. How can he help his son and settle all debts with cognition fading every passing day?

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Michael Keaton and James Marsden as Father and Son

Saban Films

Knox’s strategy is both highly intriguing and the film’s biggest weakness. Keaton uses 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. Knox forgets the names of simple objects and important locations, yet remembers how to hack security footage in a crunch? He does have a checklist of sorts, but bullet points aren’t detailed enough to accomplish his goals — that’s just not plausible and detracts from the primary story arc.

The father-son dynamic 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. He also doesn’t fault Miles for needing his help, because where else could he turn? This realization reaffirms a bond and commitment that was strained, rather than broken. 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. Keaton and Marsden are fantastic together.

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Knox Goes Away follows the crime noir playbook with deft precision. Keaton, in only his second directorial effort after 50 years on screen, knows how to establish a bleak mood and atmospheric tension. Keaton employs old-school film techniques to draw the audience into Knox’s plight. Quick cuts indicate a fragile mental state. Long tracking shots through almost every setting offer a contemplative view into Knox’s eventual decline. Keaton wants us to see the periphery while keeping his characters in focus. Knox and Crane discuss their many sins while driving in a pivotal night scene. Light streaking on the car’s windows offers a fleeting visual reprieve to the dark conversation. They are experts at doing wrong, but can still be haunted by the consequences of twisted camaraderie.

Great Potential Weighed Down by One Major Flaw

Saban Films

Knox Goes Away has good tenets that make for a positive overall experience. The performances alone are worth the price of admission and the relationship dynamics are superbly built up. However, unfortunately, the erratic and illogical use of the dementia aspect can’t be discounted or dismissed. The film would garner a much higher rating if it weren’t for such a significant flaw.

Knox Goes Away is a production of FilmNation Entertainment, Brookstreet Pictures, and Sugar23. It will be released theatrically on March 15th from Saban Films. You can watch the trailer below.

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