Knox Goes Away – Film Review

Anybody that knows me knows that I have been a massive fan of Michael Keaton ever since I was sixteen years old. Despite being a lifelong Batman fan, it wasn’t until that age that I took the character very seriously and it became a big part of who I was. The 1989 Batman film is by no means the best, but it probably means the most to me, and a large portion as to why is because of Keaton’s undeniable charm and enthusiasm. It’s a career-defining role. He’s also done quite a handful of films since then, of course, and I’ve made an effort to see every one of them.

That’s why I was so excited to hear that Keaton had directed a movie of his own called Knox Goes Away. I didn’t even need to know what it was about and who was in it – I just wanted to see it. Period. But, unfortunately, although there are certainly some strong elements on display here, I found myself mostly let down by Knox Goes Away. There are moments of true greatness that made me realize just how much potential Keaton has as a director, but there were other moments where the film came across as very boring.

The film aims to weave a complex narrative blending crime thriller elements with the tragic unravelling of a mind under siege by Creutzfeldt-Jakob disease. Despite its ambitions and a star-studded cast including James Marsden, Suzy Nakamura, Joanna Kulig, and Al Pacino, the film ultimately delivers a disjointed narrative experience that dilutes its more compelling themes.

Keaton’s portrayal of Knox is arguably the film’s strongest asset, demonstrating an adeptness at conveying the nuances of a man divided by his life’s decisions, and the relentless advance of a disease eroding his sense of self. The scenes capturing Knox’s struggles with his mental deterioration are crafted with care, providing glimpses into the vulnerability of a man who has spent his life in the shadows. The dynamic between Knox and Annie, portrayed with a delicate balance of hope and melancholy by Joanna Kulig, stands out as one of the film’s more poignant threads, offering a rare glimpse into the softer side of Knox’s world.

However, the ambitious scope of the plot seems to be the film’s Achilles’ heel. The narrative attempts to juggle too many subplots, including the complex relationship with Knox’s estranged family, his final job gone awry, and the investigative thread led by Detective Emily Ikari (Suzy Nakamura). The film’s pacing suffers as a result, with crucial character developments and narrative twists feeling rushed or, at times, superficial. This lack of depth is most noticeable in the detective storyline, where Nakamura’s character, despite a promising setup, ends up feeling underdeveloped and sidelined in the larger plot.

The script, penned by Gregory Poirier, occasionally shines with sharp dialogue and intricate character interactions but fails to maintain a consistent narrative rhythm. Several plot developments feel contrived, particularly in the third act, where the complex web of betrayal and revenge begins to unravel. The film’s climax, meant to shock, comes across as predictable, and the resolution leaves a number of thematic and narrative threads unresolved.

Moreover, the film’s portrayal of Creutzfeldt-Jakob disease, while central to the plot, at times veers into the realm of convenience rather than accuracy. The progression of the disease in Knox feels inconsistent, serving more as a plot device than a grounded portrayal of the illness. This not only undermines the gravity of Knox’s predicament but also diminishes the emotional impact of his deteriorating condition.

The supporting cast delivers commendable performances, with James Marsden’s portrayal of Miles Knox adding a necessary depth to the strained father-son relationship. Al Pacino, as the crime lord Xavier Crane, brings gravitas to every scene he’s in, although his character’s motivations remain somewhat murky throughout the film. The ensemble cast, including Marcia Gay Harden as Knox’s ex-wife, is underutilized, hinting at lost opportunities to explore the richer backstories and dynamics that could have enriched the film.

Knox Goes Away does succeed in moments that capture the introspective and existential challenges faced by its protagonist. However, these moments are scattered within a narrative framework that struggles to cohere into a compelling whole. The film’s ambitious attempt to marry crime thriller elements with a deeply personal story of decline and redemption is commendable but ultimately falls short of its potential.

The visual direction and cinematography provide some redemption, with scenes masterfully capturing the mood and tone of Knox’s turbulent world. The score, while effective in heightening the tension, occasionally feels overbearing, detracting from the subtler, more emotionally resonant moments.

Knox Goes Away is a film that, despite its potential and a talented cast, struggles under the weight of its ambitious narrative and thematic objectives. While it offers a thought-provoking glimpse into the human condition and the complexities of redemption, it ultimately fails to deliver a coherent and emotionally satisfying experience. For fans of the genre and the cast, it might be worth a watch, but it leaves one pondering what might have been had the film’s focus and execution been sharper.