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Knox Goes Away is a movie that more people should be talking about! It's a well-crafted thriller with the right balance of familiarity & refreshing ideas brought together by one of Hollywood's most underrated royalty members, Michael Keaton, and a sharp script. It is also a surprising showcase of the man's ability as a director, which, while still not necessarily profound, is enough to excite you for what may come next.
The story follows a retiring hitman named John Knox (Michael Keaton) coming to terms with a recent diagnosis of an aggressive form of dementia and only has a few weeks before his cognitive abilities become dangerously diminished. As Knox prepares to get his affairs in order, his only son, Miles (James Marsden), approaches his estranged father with a problem that requires his help. Turns out Miles killed someone who wronged his daughter and now needs someone to help him deal with it. Knox takes it upon himself to handle the situation, all the while struggling with his own uncertainties. Could this be the path to redemption he's been waiting for, or will it become his ultimate downfall?
The film does a fantastic job of keeping you guessing what Knox's big plan is for his efforts to help his son. Michael Keaton delivers his expected charismatic performance, which feels genuine and is delivered with a little wink at the audience. It's the kind of performance only he can deliver, and he makes the movie work because of it.
His ability behind the camera proves to be just as fascinating as in front. While he seems to be taking it easy with his first outing as director, signs of profound talent are waiting to be unleashed. From his ability to handle his fellow actors to his formatting choices to convey sparks of mental instability, Keaton shows enough ability to make me question why he didn't try his hand at the director's chair sooner.
The cinematography is the only aspect of the film that has me conflicted. Photographed by Marshall Adams, who spent most of his career working in television (both as a cinematographer and camera operator), the lighting choices in the film, while primarily appropriate, feel too on the nose for me personally. Like many modern films, some moments make me question why the scene is as dark as it is. However, unlike other cinematographers, Marshall seems to remember the importance of contrast with darker images. So, while I wasn't entirely on board with the levels of darkness in the images, I could at least comprehend their content, thanks to proper contrast ratios.
Knox Goes Away deserves to be seen for its sharp writing, committed performances, and delightful showcasing of an actor's potential in the director's chair. The sooner you get this film in front of your eyeballs, the better. It may not be the most pleasant thing you'll see this year, but it is the most fascinating in its own right.
Totally worth a look.
Ladies & gentlemen, I am TheNorm; thank you all for reading.
