In a gripping portrayal of an assassin’s twilight, Michael Keaton takes on the role of John Knox, a man whose existence encompasses the realms of both deep-cover intelligence and cold-blooded contract killings. Known as Aristotle during his secretive military days because of his penchant for philosophy, Knox carries the moniker into his darker career as a hitman employed by the mysterious Jericho. But as he delves into existential banter reminiscent of Tarantino’s cinematic style with his fellow hitman Muncie (played by Ray McKinnon), Knox’s life is set to take an unforeseen turn.
In the vein of neo-noir thrillers with their moody saxophone scores and their neon-lit streets, we brace for a journey into the psyche of an anguished killer. However, subtle signs point to a deeper story unfolding—a saga not only about crime and philosophy but also about a man grappling with his own mind. When Knox confides in Muncie about needing to take time off for “personal business,” it is the beginning of an unraveling. A visit to the doctor confirms the perilous nature of his situation: a swift progression of dementia, promising nothing but a descent into oblivion.
The trope of the amnesiac assassin is not new—recalling the enigmatic quests of Jason Bourne and the confused plight of Martin Harris in “Unknown.” Yet, Knox’s narrative diverges as he attempts to reconcile his imminent loss of identity with the necessity to complete one final hit. It’s a shot at redemption and an opportunity to mend severed ties with his estranged son Miles, portrayed by James Marsden. As the film unfolds, Knox’s eroding memory becomes a ticking clock, amplifying the suspense as he strives to execute his last job flawlessly, all under the critical gaze of his friend and recruiter Xavier, a role filled by the illustrious Al Pacino.
Parallel to Knox’s crisis, Detective Emily Ikari, brought to life by Suzy Nakamura, diligently works to solve a duo of murder cases that might be intertwining. The complexity heightens with a three-victim mystery counterposing a frenetic neo-Nazi assassination—each event deepening the enigma of Knox’s last days of clarity.
“Knox Goes Away” marks Michael Keaton’s directorial sequel to his 2008 debut, “The Merry Gentleman,” which similarly traverses the world of assassins and the shadows within their souls. Yet, this production is surprisingly poignant, a melancholic ode to filial relationships, literature’s timeless allure, and the bittersweet nature of life’s final chapters. The acting prowess across the board elevates the cinematic experience, showcasing Al Pacino in a vivacious display of charisma, Marcia Gay Harden in a brief but poignant role as Knox’s ex-wife, and Joanna Kulig as Annie, his Thursday romantic interest, who graces the screen with intrigue and allure.
In a film where humor lurks in the darkness and profound themes are explored with nuance, Keaton the director coaxes a formidable performance from Keaton the actor, presenting a character study of delicate and spectacular moments alike. The result is a film ripe for multiple viewings, each promising to leave the audience with new insights and emotional resonance.
Currently screening in theaters, “Knox Goes Away” is a cinematic experience that operates on multiple levels—an introspective journey, a crime narrative, and a touching reflection on human vulnerability. It invites viewers into the inner world of a man standing at the precipice of his own mind, all while wrapping a murder mystery in a compelling, darkly humorous package. Engaging and thought-provoking, Keaton’s foray into the world of the conflicted assassin is a filmic gem that commands attention and lingers long after the credits roll.
