Knox Goes Away (2024) is directed by Michael Keaton and stars Michael Keaton, James Marsden, Al Pacino, Joanna Kulig, Suzy Nakamura, Ray McKinnon, Nicole Reddinger, Paul Perri, John Hoogenakker, Dennis Dugan, Lela Loren, and Marica Gay Harden. The film follows John Knox (Keaton), an aging hitman who’s diagnosed with a rapidly progressing form of dementia. He’s soon given one last chance at redemption when his estranged son, Miles (Marsden), requests help after unintentionally murdering a man who raped his daughter. With the help of Xavier (Pacino), a trusted associate, John sets out to do right by his family before he no longer remembers them.

Keaton plays his role well, but it’s clear he’s more focused on directing the film as opposed to starring in it. I’ve never usually been able to buy Keaton as this sort of hardened criminal character, but as the aged version of the archetype, he ends up working well. For the most part, the script doesn’t offer him many juicy opportunities, and his performance results in a lot of scenes where he simply wanders around in dementia-fueled confusion. It’s also frustrating that his character never at any point informs anyone that he’s struggling with dementia. His character’s motivations for doing so are clear, but it still just feels like a convenient way to give the protagonist hoops to jump through. I would forgive this if it was entertaining, but most of the time, it just isn’t. 

Marsden gives a so-so performance, but I feel as if he’s slightly miscast. The biggest problem, however, is that the script asks us to completely sympathize with his character even though his actions are a tad morally gray. He kills a man who rapes his underage daughter, but the kickers are that he kills him fairly brutally with his bare hands and then tries to cover it up. I suppose I’m on his side, but his actions after the fact aren’t as praiseworthy as the film seems to think.    

Al Pacino is a fun addition and always feels well-cast in this kind of aging crook drama. He, and other little cameos from recognizable actors such as Marica Gay Harden help to keep the film somewhat fresh regardless of the slow pace. 

After a compelling inciting incident that takes total advantage of the premise, the movie becomes a somewhat boring noir-light character drama. This all culminates in a well-executed, but again “standard,” climax. I did appreciate, however, the film’s commitment to a mostly serious tone. The concept here is rich with potential drama and it’s good the script recognizes that and focuses on it. 

Overall, this is a competently directed film featuring mostly serviceable performances but struggles to do much memorable outside of a few clever uses of its premise. Besides those who’ve been around dementia, I can’t see this having much appeal. It’s just far too unoriginal to stick around in a person’s memory. That being said it’s inoffensive enough to recommend as a Hail Mary streaming attempt. C+