By Richard Orekoya

When it comes to captivating performances, Michael Keaton never disappoints. From his iconic roles in Beetlejuice to Batman and Birdman, Keaton’s brilliance shines through, embodying a sharp intelligence that captures every subtle nuance.

In “Knox Goes Away,” the gripping LA crime thriller where Keaton takes the reins as both star and director, he offers a departure from his usual whip-smart energy. As John Knox, the cerebral hitman, Keaton initially engages in literary banter and crime negotiations, but there’s an unsettling edge to his demeanor that Keaton expertly conveys.

As Knox grapples with a devastating diagnosis of Creutzfeldt-Jakob disease, a rapid form of dementia, Keaton skillfully navigates the character’s descent into confusion and chaos. Even amidst grim circumstances, Keaton finds moments of dark humor in Gregory Poirier’s script, though some tonal shifts disrupt the film’s flow.

In only his second directorial effort, Keaton delves into deeper themes beyond the typical hitman narrative, framing “Knox Goes Away” as a poignant father-son tale. Encouraged by his estranged son Miles, portrayed by James Marsden, Knox embarks on a final mission to protect his family from a dark past.

Keaton’s directorial finesse shines through in the meticulous execution of Knox’s plan, juxtaposed with the character’s internal struggle to maintain composure amidst encroaching dementia. Supported by a stellar cast, including Al Pacino and Suzy Nakamura, Keaton’s electrifying performance remains the film’s anchor, even as it navigates sentimental moments and a contrived ending.

“Knox Goes Away” may falter at times, but Keaton’s magnetic presence ensures a gripping and unforgettable cinematic experience. With each moment he commands the screen, Keaton solidifies his status as a powerhouse performer, leaving an indelible mark long after the credits roll.