A Constantine Review

February 14, 2005 - Films based on comic books don't have the best rep in the world. Even in the years of critical and commercially successful comic films like the Spider-Man and X-Men films, there are still films like Catwoman and Elektra. It's a crapshoot and you never know what you're going to get. Going in to see Constantine, I was admittedly skeptical. Slated for a February release, this is a time period often considered a dumping ground for films, a time when you would never, ever expect a film that rivals and even exceeds most summer blockbusters out there in terms of effects, excitement and consistent quality. Constantine is that film. As fans drool in eager anticipation of Revenge of the Sith, here is a film that, like The Matrix in 1999, may well be the surprise that everyone is talking about.

The world of Constantine is a world in and of itself. It's part present day, part imagination – but it's not comic-booky or hammy. That's partially what makes it so enticing and frightening all at once. It exists in its own reality while mixing even doses of our reality at the same time.

John Constantine (Keanu Reeves) is a jaded, tough-talking, hard-boiled, smoking, drinking guy with a pretty unpleasant personality. Equally scorning heaven and hell, Constantine has a rare gift to see half-breed demons and angels that walk the streets of Earth in human disguise. Earlier in life, Constantine was driven crazy by these visions that no one else could see. He attempted suicide and, for a few brief minutes, got a glimpse at the ultimate horrors of hell. He has been condemned to hell, so he fights for a reprieve he knows he'll never get.

The story starts off with a grisly exorcism of a young girl that unavoidably references The Exorcist. Constantine comes in and, with very little flash, pulls a really nasty demon out of the girl. As visually stylish as the film that follows, the scene takes exorcising demons to a new level, an exceptionally memorable introduction to his character. Constantine's path soon crosses with a skeptical detective named Angela Dodson (Rachel Weisz) who is investigating the suicide of her sister. She believes that her twin sister, a devout Catholic, couldn't possibly have committed suicide. Demons are also starting to cross over to Earth at an alarming pace and Constantine is trying to shut the gateway while simultaneously attempting to help Dodson solve the mystery of her twin. Co-starring are Shia LaBeouf as Constantine's apprentice, Chaz; Djimon Hounsou as Papa Midnite, who runs a sort of neutral nightclub for half-breeds; Tilda Swinton as half-breed angel Gabriel; and Gavin Rossdale as half-breed demon Balthazar.

Constantine is one of the most technically brilliant films I've ever seen. This is the reference for all future CGI. It's that cool. Overuse of CGI has plagued and degraded cinema for years now, often serving as more of a distraction than an enhancement, something directors use in place of imagination. Director Francis Lawrence and the visual effects crew on Constantine have given proof that, when done right, CGI can create a world never thought possible. When the striking images of hell pass before you on screen, they are literally (no pun intended) burned into your brain. Looking like some sort of mix between illustrations of Dante's Inferno and heavy metal album covers of the 80's, these are some seriously disturbing and seriously cool creations. The creature effects, from a demon made up of bugs swarming to form a bad-ass demon to little winged minions of the devil, are seamlessly integrated with reality. The facial effects on half-breed demons look very cool, mixing flesh with, well, gruesome bad looks. I could go on and on about all the different and imaginative effects in this film, but I don't want to spoil all the surprises.

The world of Constantine is totally immersive. It's always great when you get that feeling of being transported to another place, of forgetting where you are and being totally sucked into a movie. I always find a good judgment to be when I stop fidgeting in my seat or looking at my watch. Constantine had my eyes glued to the screen.

Keanu Reeves himself expressed skepticism at the choice of a music video director (Francis Lawrence) to helm Constantine as his first feature. Keanu's initial thoughts echoed my own, and we have both been proven completely wrong. This is an exceptionally directed film. It is stylish without being overtly flashy or showy. The pacing is nearly perfect. I've heard some critique of a few of the film's slower moments, but I gotta say, I didn't even notice them. The story was so engaging to me that, even when the action slowed down, I was just as intrigued by the story that unfolded.

Just about every critic can lay claim to some Keanu-bashing once in a while. I've always maintained that Reeves can be a good actor, it just isn't always the case in his performances. The role of John Constantine is one of his best. On the set of the film, Lawrence told us that Reeves has his own personal demons, that he shares traits with John Constantine. The quotes seemed strange at the time, but make more sense in retrospect. Reeves seems to draw from a very personal place; he's in-tune with this man. There's a sort of voyeuristic fascination to darkness and depression, and watching John Constantine, a man who thumbs his nose at both heaven and hell – it just works. This is a role perfectly suited to Reeves, perhaps even more so than Neo. You empathize with him while being damn glad you aren't him.

Constantine's strong supporting cast keeps Reeves from having to carry the film on his own. Rachel Weisz continues to emerge as one of the better young actresses, and this is a film that plays to her strengths and challenges her talents more than battling badly CGI'd mummies. Shia LaBeouf is amusing in a brief sidekick part. The always excellent Djimon Hounsou is unfortunately underused but, should Constantine become a franchise, you get the idea that there is a lot more to reveal about Hounsou's Papa Midnite. Finally, Gavin Rossdale, the former Bush lead singer who's nearly unrecognizable in an expensive suit and slick-backed hair, and the mean-spirited Gabriel as portrayed by Tilda Swinton (perhaps one of Lawrence's most daring and ingenious casting choices) make perfect adversaries to Constantine, almost like the devils and angels on the shoulder, though neither is clear cut as good or bad.

Unapologetically rated "R," Constantine is not a film for children or the faint of heart. Don't let its comic basis fool you. This is a very dark adult film and it pulls no punches. It's packed with language, violence and gruesomely realistic and harrowing imagery sure to give any child who unwittingly stumbles upon these images nightmares for years to come.

It's rare that any film can provide intense discussion or debate on the issues it brings to light. I've never seen a comic film that did this. After this weekend's screening of Constantine, debates of historical lore and religion were raging in the theater lobby and continued at the press day.

I can't comment on how accurate or loyal an adaptation of the Hellblazer comics this film is. In fact, I've already heard some fans of the comic gripe about the many changes that were made to bring it to the screen. In the end, the comic audience, especially the one for a graphic novel like this one, simply isn't large enough to determine the success of a film of this magnitude. Sometimes a comic can't be directly translated. Maybe I'd feel differently if I checked out the comics, but for my money, Lawrence has taken the source material as a jumping-off point and made a great film. An achievement of both story and technique, Constantine is one of the finest comic-based films ever made.

You can read this article over at FilmForce, and see more pictures of the film. Two more days to go for the rest of us!

And of course, Constantine is at a respectable 50% rotten (or fresh, whatever you prefer) rating over at Rotten Tomatoes.