In these two films, the race against the clock is prominent. In Wicked Little Letters, it’s a race against problematic innocence being punished, while with Knox Goes Away, it’s a race before aggressive dementia sets in. 

Wicked Little Letters (Amazon Prime by Demand) - Based on real-life events dating back to the 1920s, this little film can be categorized as a comedy or drama, depending on your takeaway. It possesses strong, incandescent acting, with the ensemble led by Olivia Colman as the repressed and fastidious Edith and Jessie Buckley as the liberated and foul-mouthed Rose. When a series of poison letters addressed to Edith arrive at their Littlehampton home, it doesn’t take long before Edith’s family starts pointing fingers at their new neighbor from Ireland, Rose. A widow with a daughter, Rose has a new boyfriend, and it’s this licentious, liberal life that has Edith and her parents in such turmoil, being as how they’re so god-fearing and straight-laced.

What follows is a comedy of manners and a showcase of hypocrisy and small-town behavior. Finding out who wrote the letters isn’t that much of a mystery, but the early revelation does nothing to spoil how this narrative unfolds. Directed by Thea Sharrock and with a screenplay by Jonny Sweet, the film admirably takes on bigger themes during its running time. This film's themes are how people make hasty conclusions, how values are often pigeonholed, how truth and lying can go hand in hand, and how people are too lazy to scratch the surface. It’s enjoyable, there are plot developments you won’t necessarily see coming, and there’s so much good acting from the two leading ladies and the supporting cast. Do seek this film out, and don’t forget to thank me. Super funny, with strong life lessons taught.

Knox Goes Away (Amazon Prime by Demand) - Directed by, produced, and starring Michael Keaton, this film does have an interesting premise of ‘what if an aging hit man is suddenly diagnosed with an aggressive form of dementia, and told there are only weeks or months at best before he’ll be required to place himself in a health facility.’ What sort of tragedies and strange circumstances can happen to make his last few weeks a trial of existence? Based on a screenplay full of ripe possibilities, the film becomes a sad journey of mistakes and coincidences that add to the sorry state of affairs that Knox finds himself in. Seeking some moral compass, Knox does his best, given the situation, but it is ultimately a losing battle. Keaton playing this tragic figure to the hilt should keep us watching. 

So we have this wonderful premise, and enough is made to mold the Knox character into something interesting to observe in a deep character study. But unfortunately, we keep diving down side alleys and subplots. First, there’s the case of his long-lost son (James Marsden), who has committed a crime and asks Dad to fix things. Then, Knox’s relationship with his good friend Xavier (Al Pacino) starts. For some reason, we keep circling back to the two detectives on the trail leading to Knox. After coming up with the strong premise and character, it's almost as if the film took a series of wild left turns, not trusting that Keaton/Knox were enough to take this film home. It’s a shame, as there was promise at the start, but it fizzles out, so we lose interest.