Unconventional Approach to a Hitman’s Tale

Read Time:3 Minute, 34 Second

MOVIE REVIEW
Knox Goes Away
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Genre: Thriller
Year Released: 2024
Runtime: 1h 54m
Director(s): Michael Keaton
Writer(s): Gregory Poirier
Cast: Michael Keaton, James Marsden, Suzy Nakamura, Joanna Kulig, Ray McKinnon, John Hoogenakker, Lela Loren, Marcia Gay Harden, Al Pacino, Chad Donella
Where To Watch: arriving on Electronic Sell-Through on May 21 and Video on Demand and Blu-ray™ + DVD + Digital on May 28 from Lionsgate.

RAVING REVIEW: In KNOX GOES AWAY, Michael Keaton takes on the dual roles of the director and the leading man, embarking on an emotionally charged journey. Here, Keaton embodies John Knox, a seasoned hitman whose life takes a dramatic pivot when faced with a life-altering diagnosis. This crisis throws him into the path of his estranged son, Miles, portrayed by James Marsden, against a backdrop rife with criminal entanglements and deep-seated family issues. Despite the film’s occasional narrative missteps and pacing problems, Keaton’s performance ensures we’re still vested in the film.

The film’s heart is undeniably the relationship between Knox and his son, serving up a narrative cocktail of emotional depth and complexity. However, KNOX GOES AWAY sometimes feels like it loses its way along the trip; uneven pacing and some issues with dialogue cause the film to have to reset throughout. This leisurely pacing, while allowing for moments of character development, often saps the story’s tension and urgency.

In a role that offers an emotional experience, Keaton stands out, delivering each line with depth. Unfortunately, the same can’t be said for the rest of the cast, which repeatedly brings the experience down. Marsden, for his part, occasionally seems to struggle to match Keaton’s subtlety but ultimately adds a layer of conflict and complexity to their shared scenes. One must wonder if the issue is with Keaton taking on multiple roles instead of focusing on his performance and letting someone else guide the others.

One of the film’s struggles is its screenplay, which aims high but often needs to be revised in its ambitions. This leads to a sporadically engaging narrative but needs help with consistency and forward momentum. The pacing, in particular, feels at odds with the genre’s expectations, lacking the tight, edge-of-your-seat tension that characterizes the best crime thrillers.

On the technical front, KNOX GOES AWAY attempts to innovate with visual and auditory techniques designed to reflect Knox’s unraveling mental state. While commendable for their ambition, these techniques occasionally offered something more confusing than the straightforward experience they were meant to inflict.

However, the film’s final act marks a dramatic turnaround, delivering an emotional payoff that enriches the narrative. This concluding chapter, anchored by potent performances from Keaton and Marsden, elevates the film, helping offer the viewer a poignant narrative that resonates well beyond the end credits.

In summary, KNOX GOES AWAY is a film of contrasting qualities: it is at once a showcase for Keaton’s dual-role prowess and a narrative that occasionally fumbles in its execution. While it navigates through familiar thematic territory, the performances and the emotionally charged finale lend the film memorability. Despite its imperfections, this endeavor remains a noteworthy watch for those drawn to stories that blend the thrill of the chase with the complexity of human connections.

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[photo courtesy of SABAN FILMS, PIXELSCENE MEDIA]

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