Michael Keaton, in his second directorial venture, brings to life the character of Knox, an intellectual hitman diagnosed with a severe form of dementia. The plot, crafted by Gregory Poirier, starts off intriguing, but soon fizzles out due to narrative inconsistencies. Even Keaton's typically effective performance struggles to uphold the film's premise.
The film fails to adequately delve into the protagonist's character. There's a glimpse into Knox's life - his PhDs in English and History, his history as a Gulf War veteran, his weekly meetings with a call girl - but it is minimal compared to the potential his background suggests. The film's primary narrative is further obstructed by an overused subplot involving Knox's estranged son, Miles, played by James Marsden.
The son-father dynamic intended to examine Knox's life as he grapples with mortality is not executed well. Skimpy scenes between Marsden and Keaton fail to provide insight into Knox's character. The ensuing narrative filled with easily discernable plot twists makes for a flat character study with an overly predictable script.
Keaton diverts attention from Knox to two detectives attempting to apprehend him, shedding more light on their lives than on the protagonist's, a move that feels unrelated to the story's main narrative. To add to the film's drawbacks, the unimpressive visuals and slapdash editing pull down the very few moments of action involving Keaton.
In spite of this, the film's success somewhat depends on Keaton delivering a redeemable performance. Unfortunately, his portrayal of Knox, a man on the verge of losing himself, falls short. Keaton imparts too much control to Knox, resulting in a performance that fails to mirror the magnitude of the character's emotional range. Consequently, "Knox Goes Away" feels like an unfulfilled promise, leaving its audience questioning if the character Knox was truly present in the first place.
