In “Knox Goes Away,” Michael Keaton plays a hitman with dementia who has only a few weeks left to sort out his life. Despite an intriguing premise by writer Gregory Poirier, the film falls short due to narrative flaws, lacking the intensity and emotion it aims for, even with Keaton’s performance.
The film misses an opportunity for a deep dive into Knox’s complex character. He’s an intellectual with a mysterious background, including a PhD and military experience. However, the focus shifts to a cliché subplot involving his estranged son, who seeks his help after a violent incident. This diversion detracts from exploring Knox’s intriguing persona.
The subplot involving Knox’s estranged son fails to add depth to Knox’s character or explore his inner life effectively. There are too few scenes between Keaton and Marsden, leaving little opportunity to delve into Knox’s past before it’s too late. Keaton’s character spends most of the film executing a predictable plan with the help of an unremarkable Al Pacino. Overall, the movie falls short as a character study, lacking interest in its central character and weighed down by a predictable script.
Keaton’s direction diverts attention from Knox by highlighting two detectives. Suzy Nakamura’s character, the sharper of the two, stands out, but we learn more about her backstory than Knox’s. This includes her immigrant upbringing and experiences with workplace sexism. While cultural specificity can enhance a film, here it feels forced and unrelated to the main story.
The film’s visual presentation is disappointing, with dull photography and awkward editing that undermine any action scenes involving Keaton. The compositions lack appeal, and the lighting and overall visual style fail to convey the noir atmosphere the movie aims for, despite the presence of a jazzy score.
Keaton’s performance as Knox lacks the emotional depth needed to capture the character’s turmoil. Knox remains too composed, failing to convey the intensity of his situation. Overall, Keaton’s portrayal falls short of salvaging the film.
| Aspect | Evaluation |
|---|---|
| Premise | Intriguing premise by Gregory Poirier |
| Character Depth | Lack of exploration into Knox’s complex character; focus on cliché subplot detracts from main story |
| Subplot | Estranged son subplot fails to add depth or explore Knox’s inner life effectively |
| Performance | Keaton’s portrayal lacks emotional depth, fails to capture character’s turmoil |
| Direction | Diverts attention from main character, focuses on less compelling subplots |
| Visuals | Disappointing visual presentation, lacks noir atmosphere |
| Action Scenes | Awkward editing and uninspired photography undermine action sequences |
| Overall Impact | Falls short as a character study, predictable script, lacks intensity and emotion despite Keaton’s performance |
