Knox Goes Away review
Know Goes Away is a fascinating, compelling hitman story with a unique killer premise.
To some degree it plays out somewhat like Memento with the twist being the main character is a hitman.
John Knox (Michael Keaton, The Flash) is a hitman — what’s the deal with hyper competent assassins with the first name of John? — who gets some devastating news. He’s got an aggressive form of dementia. His prognosis isn’t great. Knox’s doctor advises he’s got a matter of weeks before his confused and disoriented state becomes the norm. His lucid moments will become the exception.
That’s a lot to take in — especially for an assassin who relies on precision and survival instincts to stay alive.
Knox’s condition immediately proves highly problematic on his next gig, which results in more than one unexpected consequence. The action is enough to put detectives Ikari (Suzy Nakamura, Avenue 5) and Rale (John Hoogenakker, Jack Ryan) on his trail. And leaves Knox scrambling to get his affairs in order pronto.
First up, Knox talks to his money guy, Philo (Dennis Dugan), and his mentor Xavier (Al Pacino). The script from Gregory Poirier is solid though there is the obvious frustration of Knox only sharing the news of his diagnosis with Xavier. Clueing in more of his inner circle would help Knox immeasurably in terms of making his final clear enough weeks less stressful.
This does allow for Keaton to lean into the duel meaning of the title. Knox keeps telling people he’s going away, which is true from a certain point of view. Most just assume he’s worried about dying while Knox knows it’s more the man they know who is leaving never to return.
That will impact other areas of his life such as his weekly rendezvous with hooker, Annie (Joanna Kulig). Their arrangement is simple. The drinks are on the nightstand and the cash is on the dresser, but there’s a deeper connection with small talk over books Knox shares. Call it a book club with benefits.
Knox is all set to wind down his final weeks when his estranged son Miles (James Marsden) shows up at his doorstep with a problem only he can fix. It’s a major situation, but sometimes it pays to have a hitman for a father. The trick for Knox is can he remember all of his years of experience before he loses full control of his mental faculties?
This creates some suspenseful moments. Typically films where characters facing incurable mental illnesses spend time between denial, grief and ultimately acceptance. Knox doesn’t have time to waste grieving. Miles’ problem provides him a focus and one final job allowing him to be more aggressive in facing dementia on his terms.
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Knox Goes Away marks Keaton’s second directorial effort after 2008’s The Merry Gentleman. This doesn’t play out like a stumbling sophomore effort and hopefully it’s not a prolonged gap before his next stint behind the camera.
Keaton gives scenes time to play out without rushing to get to the more action-heavy moments. Scenes with Ikari and Rale have a playful tone to them without feeling out of place. And every scene Keaton has with a game Pacino is a highlight. Pacino hasn’t been this good in a very long time. Marsden also shines given the chance to handle a meatier role than his norm.
The segments when Knox gets disoriented are a little jarring and not always effective but does provide the viewer some visual insight into Knox’s confusion.
Actors don’t always receive Oscars for their best performance. Keaton should have won for Birdman. It’s just the start of 2024’s second quarter, but Keaton makes a case that this performance shouldn’t be forgotten come fall/winter award season. This might even be a better performance than Birdman. He brings a determined intensity to Knox yet is able to convey the confusion when the dementia pops up.
Knox Goes Away is an entertaining thriller that makes good on the premise with a very satisfying final act. It might not be getting the buzz of some other spring films, but this is well worth seeking out.
Rating: 9 out of 10
Photo Credit: Saban Films