Comfortably seated within that small group of actors who I’ll watch in anything is Michael Keaton. From his early comedies of the 1980s to his time as Gotham City’s Caped Crusader to the more character driven dramas of the last ten years, I’ve always been drawn to Keaton’s wit, charm, and versatility. So naturally I was going to check out his latest film, “Knox Goes Away” which sees him not only starring but also in the director’s chair.

“Knox Goes Away” is the kind of low-key thriller that’s much more into studying its main character than delivering anything that resembles nail-biting tension. It’s deliberately paced and stealthily hypnotic – a result of Keaton’s sure-handed direction. It’s also emotionally layered, resonating in a number of unexpected ways – a testament to Keaton’s shrewd and well-modulated performance. Then add an intriguing supporting cast that includes Al Pacino, James Marsden, Marcia Gay Harden, and one of my very favorite character actors Ray McKinnon.

The script is written by Gregory Poirier who pens a story as much about one man’s mental conflict as the crimes that unfold on screen. Keaton plays John Knox, a seasoned contract killer who has his world shaken when he is diagnosed with a rapidly progressing and incurable form of dementia. Given only weeks before his mind completely fails him, John meets up with his partner and fellow hitman Tommy (McKinnon) to carry out a final contract. They’re tasked with taking out a human trafficker, but the job goes south and Tommy ends up dead.

The botched job convinces John that his days as a hitman are over and it’s time to “cash out”. But then he’s paid a visit by his estranged son Miles (Marsden) who he hasn’t spoken to in years. Panicked, covered in blood, and in big trouble, Miles tells his father how he just stabbed to death a racist scumbag (Charles Bisset) who got his 16-year-old daughter Kaylee (Morgan Bastin) pregnant. Knowing his father’s line of work (but not knowing his deteriorating mind), Miles begs for his help. “I’ve never asked you for anything in my life.”

John immediately goes to work, instructing his son to go home and say nothing while he visits the blood-drenched crime scene. It’ll take a meticulous plan with attention given to every single detail to cover up the grisly murder. But can he pull off a plan so precise with his failing mind? That becomes a key conflict in the film. John begins writing down each step of the plan in a pocket notebook as reminders. And he contacts a trusted old friend, Xavier Crane (Pacino), to help him stay on point. But hot on his heels is the stiff and overly grumpy Detective Emily Ikari (Suzy Nakamura) who begins investigating both murder scenes.

Using weeks like chapters, Poirier’s story follows John as he races against two clocks. One sees him trying to pull the ultimate cover-up in an effort to protect his son before the dogged detective can put the pieces together. The other sees him personally facing his cognitive decline, something Keaton captures realistically and with empathy. He truly is the film’s anchor, bringing strength, vulnerability, and nuance to the central character.

Not all of the stellar supporting cast get much to do, most notably Al Pacino and Marcia Gay Harden. But they do fill in some important story gaps. And you could also make the case that the film’s ending isn’t the most plausible. Yet I found it to be clever, satisfying, and unexpectedly moving. Either way, “Knox Goes Away” works thanks to the savvy Michael Keaton who shines in what is an absorbing character study masquerading as a hitman movie. “Knox Goes Away” hit theaters on Friday, March 15th.

VERDICT – 3.5 STARS