Constantine
For me, the less known about a movie, the better. That’s why I rarely read reviews now unless it’s a movie I’m unsure of, but intrigued by. It’s a philosophy I try to emulate in my movie reviews (the exceptions are truly bad films that want to surprise, but are lazy enough to make it uncomplicated for you). If you are interested in learning more about a movie though, even if you have no desire to see it, feel free to email me, and I’ll be happy to reveal all its’ secrets. But in the actual review, I will always do my best not to.
“Constantine” is one such movie with secrets to tell, and surprises in store. Granted, if you see the intriguing trailer, you will likely figure some of these out for yourself. But it is best to go into “Constantine”- based on the obscure Vertigo/DC Comics graphic novels “Hellblazer”- knowing as little as possible, with an open mind, and taking all your preconceptions about comic books movies with a grain of salt. If you go in expecting “X-Men” or “Batman”-esque action fireworks, you’re going to be disappointed. “Constantine’s” thrills are rooted in interesting characters and a complex, even bold, story full of theological concepts both real and ficticious. This is a thriller first and foremost, not an action movie, a distinction I was hoping for- and profoundly disappointed when I didn’t get it- in Keanu Reeves other recent excursion in genre, “The Matrix” trilogy (though I think the first 20 minutes of the original “Matrix” is brilliant genre filmmaking). Though containing the requisite action and effects sequences, “Constantine” is more along the tone of the genre films of Alex Proyas (“The Crow,” “Dark City,” “I, Robot”) and the best genre anime (“Ghost in the Shell,” “Cowboy Bebop”) than “The Matrix”- what it ended up being- and the worst comic book movies, to which I say, Amen.
“Constantine” is a movie of ideas. Are all the ideas based in real theological concepts? No, but remember that it is first and foremost, a fantasy. The movie doesn’t pretend to be anything else, and it’s a damn fine one. Keanu Reeves plays John Constantine, a freelance exorcist who’s noticed an unusual amount of supernatural activity of late. Rachel Weisz (“The Mummy Returns”) plays a detective who- after her sister’s suicide- comes to Constantine for guidance into what might have driven her sister- not one- we are told- who would kill herself- to jump off a building. Constantine tells her- and us- of a wager between God and the Devil for the souls of all humanity, played out in whispers and influence by angels and demons looking to tip the balance one way or the other. How Constantine came be in the middle- so to speak- of this poker match I will let the film tell you.
“Constantine” is a movie of ideas, both spoken and visual. The glimpses into Hell, for instance, are frightening and fantastic in not just their stylized look, but also their believability for anyone who has ever thought of such things. The central idea of angels and demons who influence us, pushing us into one direction or another, is fascinating in the questions it poses about our most precious gift- free will. The foreboding look of a city in decay- overused at this point since “Blade Runner” and “Se7en”- would be uninspired were it not for the look’s ability to create an ominous, noirish mood that’s unshakable (and enhanced by a forboding score by Brian (“Bubba ho-Tep”) Tyler and Klaus (“Pirates of the Caribbean”) Badelt) and wholly fitting for the story. The film’s blending of the spiritual and visceral in its’ ideas of Constantine’s world, at once rooted in profound spiritual questions, only later to be thrust into visceral executions of religious practices we’re familiar with either through experiences or movies. Were it not for grounded performances, though, by Reeves (better and more interesting than he ever was in “The Matrix” trilogy), Weisz (bringing intelligence and vulnerability to an underwritten role), Tilda Swinton (“The Deep End”) as Gabriel, Djimon Hounsou (“Amistad”) in an underused role as a major player in Constantine’s world, and Peter Stormare (“Fargo”) in a “cameo” too bizarrely cool to give away, none of this would be worth getting interested in. Credit first-time feature director Francis Lawrence for pulling all of the elements together. Some work better than others, but don’t believe anyone who says this is just a special effects movie; the effects are at the service of the story, which is interesting- if you give it the chance- and peopled by characters who are also interesting.
“Constantine” is a movie of ideas. In the genre of comic book movies, that’s a statement few can truly say.
