Assassin’s Plan (2024) aka: Knox Goes Away

Michael Keaton’s directorial debut, Assassin’s Plan (aka Knox Goes Away), is a slow-burning thriller that doesn’t quite ignite but still manages to smoulder with intrigue. Keaton stars as John Knox, a hitman grappling with a rapidly progressing form of dementia. As Knox races against time to tie up loose ends and help his estranged son cover up a murder, the film weaves a tale of redemption, family, and the fragility of memory.

The premise is promising, and Keaton’s performance as the deteriorating assassin is undeniably the film’s strongest asset. He brings a nuanced vulnerability to Knox, capturing the frustration and fear of a man losing his grip on reality. There’s a palpable tension in scenes where Knox struggles to remember crucial details, and Keaton’s portrayal of cognitive decline feels authentic and heartbreaking.

That said, the film’s pacing is a bit of a double-edged sword. While it allows for some thoughtful character moments, it also leads to stretches that drag. The plot, which juggles Knox’s personal struggles with a crime cover-up, sometimes feels disjointed, as if it’s trying to be two movies at once.

The supporting cast is a mixed bag. James Marsden does solid work as Knox’s troubled son, and their scenes together hint at a complex father-son dynamic that could’ve been explored further. Al Pacino pops up in a small role that, while entertaining, feels a bit underutilized. On the flip side, Suzy Nakamura’s detective character comes across as a bit one-note, lacking the depth to make her pursuit of Knox truly compelling. She does supply a bit of humour, which is welcome.

Visually, Assassin’s Plan is competent but unremarkable. The muted colour palette suits the sombre tone, but there’s a lack of visual flair that could’ve elevated the more tense moments. The score, while serviceable, doesn’t leave much of an impression.

One of the film’s strengths lies in its exploration of memory and identity. As Knox’s mind deteriorates, we’re forced to question the reliability of his perspective and the nature of self when memories start to slip away. It’s a theme that resonates, even if it’s not always handled with the subtlety it deserves.

The dialogue can be hit-or-miss. There are moments of sharp, noir-tinged exchanges, but also instances where the attempts at hard-boiled banter fall flat. The film’s attempts at dark humour are similarly uneven, occasionally landing but often feeling out of place in the otherwise grim narrative.

Look, Assassin’s Plan isn’t going to blow your socks off, but it’s got its moments. I enjoyed it. Keaton’s performance alone makes it worth a watch for fans of character-driven thrillers. It’s a flick that’ll make you think, even if it doesn’t always succeed in making you feel. In the end, Assassin’s Plan is a decent first outing for Keaton as a director. It’s got ambition and heart, even if it doesn’t quite stick the landing. If you’re in the mood for a slow-burn thriller with a dash of existential dread, give it a shot. Just don’t expect fireworks—this one’s more of a slow simmer.