Francis Lawrence’s “Constantine” (2005), the primary movie adaptation from the “Hellblazer” comedian ebook, has turn into not only a cult film however a newly appreciated work that was largely dismissed, even hated, by most critics upon launch.
Lengthy earlier than Keanu Reeves was John Wick, he performed John Constantine in a automobile that sometimes fills comedian ebook fanboys with instantaneous bouts of rage. Not that I blame them.
The “Hellblazer” sequence, put out by Vertigo/DC Comics, portrays Constantine as a blonde, British good ass with the power to journey backwards and forwards between Earth and Hell.
Reeves performs him as a Yankee (a smart selection, contemplating his unlucky accent within the in any other case extraordinary 1992 “Bram Stoker’s Dracula”) with dimension-hopping capabilities and a formidable data of the occult. In any other case, the tone of the character and movie differ from the supply materials, in ways in which don’t all the time work.
Reeves has a robust presence that fills the display screen, as his uniquely good-looking options, harassed hair and darkish swimsuit make him a fantastic main man for any film, not to mention a horror neo-noir. He makes the function his personal however nonetheless unwisely underplays the humor.
He has some good moments of cynical humor, however his efficiency (and the film) would’ve been higher had he been funnier.
Lawrence directs with a confidence and visible finesse that’s not all the time typical of first-time filmmakers. His debut has a glance not dissimilar to “The Matrix” (1999), as the colour is de-saturated however there are nonetheless many scenes of perverse magnificence.
That is an effects-heavy movie, loaded with CGI that’s really superb.
Philippe Rousselot’s cinematography is beautiful, one way or the other evoking movie noir, presenting some scenes in washed-out tones, whereas others are wealthy in shade and depth. Rousselot additionally shot John Boorman’s “The Emerald Forest” (1985), Philip Kaufman’s “Henry & June” (1990), and Robert Redford’s “A River Runs Via It” (1992).
I didn’t count on his work on “Constantine” to be so superb to behold, nevertheless it completely is.
It takes its story critically, adapting a no-joke method to faith not in contrast to the semi-serious tone of Kevin Smith’s “Dogma” (1999), the rowdy comedy that introduced its themes of Catholic guilt and redemption with whole sincerity.
In truth, the 2 would make a fantastic double characteristic.
FAST FACT: “Constantine” earned $75 million stateside in 2005, not sufficient to cowl its $100 million finances. The movie’s abroad haul – $154 million – helped immensely.
“Constantine” begins with a hilariously over-the-top exorcism sequence, establishing the form of ghoulish enjoyable the film desires to have with its viewers. Nonetheless, as a substitute of the darkish humor proving constant, it comes and goes, even because the spectacle by no means wavers.
Constantine’s encounters with Devil and Gabriel are written with intelligent irreverence and profit vastly from the best way Peter Stormare and Tilda Swinton gamely embody them and supply artfully bizarre turns. Rocker Gavin Rossdale registers strongly in a supporting function, suggesting a movie profession that would have flourished however didn’t broaden past this film.
Enjoying a cop with an odd connection to the story, Rachel Weisz is as soon as once more paired with Reeves, for the second time after their state-of-the-art B-thriller, “Chain Response” (1996). As in that film, she musters solely a sibling-like chemistry along with her co-star and tags alongside when she ought to be serving to carry the movie.
Keanu Reeves isn’t “completely happy” with the Constantine 2 scripts presently in improvement, says co-star Peter Stormare, saying “Don’t flip it into huge Marvel.” https://t.co/AOhFeAKsJq pic.twitter.com/ei8AWNZDzr
— IGN (@IGN) Might 30, 2025
Reeves, alternatively, has instantaneous credibility on this world and appears so cool as Constantine, he’s enjoyable to look at, despite the fact that he’s nonetheless miscast and a few of his line readings are wrong-headed, picket and ill-considered.
Far worse is Shia LaBeouf, whose breakout flip in “Holes” (2003) was adopted by his irritating comedian reduction cabbie on this film, which didn’t want him.
The superior visuals are continuous. As an outline of ample non secular warfare in a contemporary setting, this can be a wealthy, fantastically made freak present. It’s so beautiful to have a look at and madly audacious, it comes near working.
The visions of heaven and hell it gives jogged my memory of the go-for-broke climactic scenes of “The Frighteners” (1996), one other film with a daredevil spirit and smirk on its face. “Constantine” strove for “Angel Coronary heart” (1987) meets “Ghostbusters” (1984) and didn’t get there fully.
Neither did the current TV sequence model, which nailed the tone and necessities of the character, however suffered from inconsistent episodes.
Contemplating how uncommon “Hellblazer” is as a comic book ebook, it may possibly’t be simple to get this proper. As a movie, “Constantine” holds up higher than I keep in mind, a comic book ebook film with guts and imaginative and prescient. The film is all the time at full throttle, even when Reeves isn’t.
He’s each an asset and a stumbling block in his personal film.
For the document, it’s laborious to say who would win in a struggle, John Constantine or John Wick. In spite of everything, Wick has been by way of hell, however Constantine has been to hell, greater than twice!
Now that “Constantine” has been revisited, embraced as a cult movie, entered into the Keanu canon and redeemed by cinephiles, is it time to provide “Johnny Mnemonic” (1995) one other shot?