Reeves’ ‘Constantine’ – From Dud to Cult Favorite

by

As a cinephile, I’ve found myself revisiting Francis Lawrence’s “Constantine” (2005), an early adaptation from the “Hellblazer” comic books, which has evolved from being merely a cult classic to a more broadly appreciated piece of work. Initially, it was often met with criticism, even outright disdain, by many film critics upon its release.

Prior to becoming John Wick, Keanu Reeves portrayed John Constantine in a production that often triggers immediate anger among comic book enthusiasts. Frankly, I can understand their reaction.

The “Hellblazer” comic book series published by Vertigo/DC Comics presents the character of Constantine as a witty, blond Brit who can travel between our world and the underworld.

In a clever casting move (despite his less than ideal accent in the exceptional 1992 movie “Bram Stoker’s Dracula”), Reeves portrays the character as a Yankee who can travel between dimensions and boasts extensive knowledge of the mystical arts. However, the overall feel of the character and film deviate from the original source material at times, with these differences not always being effective.

In a captivating manner, Reeves’ distinctive good looks, tousled hair, and dark attire command attention on screen, making him an ideal lead for films, even beyond the realm of horror neo-noir. However, he seems to subtly downplay the comedic aspects of his role, which might not be the wisest choice.

While he delivers moments of witty skepticism that are quite appealing, the overall quality of his acting (and the film itself) could have been more enjoyable if he had incorporated more humor into his performance.

Lawrence’s direction exudes an assurance and visual flair that’s rarely seen in first-time filmmakers. His initial work bears a resemblance to “The Matrix” (1999), with its color palette being muted yet containing numerous striking, beautiful scenes.

This is an effects-heavy film, loaded with CGI that is truly amazing.

Philippe Rousselot’s cinematography is striking, with a style reminiscent of film noir. He masterfully portrays certain scenes in muted tones, while others burst with vibrant colors and dimensionality. Notably, Rousselot was the cinematographer for John Boorman’s “The Emerald Forest” (1985), Philip Kaufman’s “Henry & June” (1990), as well as Robert Redford’s “A River Runs Through It” (1992).

I didn’t expect his work on “Constantine” to be so amazing to behold, but it absolutely is.

This work maintains a genuine, non-humorous perspective on religious topics, mirroring the somewhat serious yet comical tone of Kevin Smith’s “Dogma” (1999), which dealt with themes of Catholic guilt and redemption in a sincere manner.

In fact, the two would make a great double feature.

TIDBIT: The movie “Constantine” brought in $75 million within the U.S. in 2005, which fell short of its domestic production cost of $100 million. However, the film’s earnings from foreign markets totaling $154 million significantly aided its financial success.

The film “Constantine” kicks off with an extravagantly spooky exorcism scene, hinting at a ghostly amusement the movie aims to share with viewers. Regrettably, the witty, eerie humor isn’t consistently maintained; it appears and disappears intermittently, despite the intensity of the spectacle never faltering.

Constantine’s interactions with Satan and Gabriel are filled with witty disrespect and are made even more captivating by the performances of Peter Stormare and Tilda Swinton, who portray them in a unique, offbeat manner. Gavin Rossdale delivers an impressive performance in a secondary role, hinting at a film career that might have blossomed but remained limited to this particular movie.

In this role as a police officer with an intriguing backstory, I find myself teamed up with Keanu Reeves once more, following our collaboration in the cutting-edge B-thriller “Chain Reaction” (1996). Much like that film, there’s a familiar bond between us on-screen, which, at times, seems more like sibling dynamics. However, when I should be taking a more active role in driving the narrative forward, I find myself tagging along instead.

Instead of Reeves, however, possesses an immediate air of authenticity within this realm and effortlessly exudes a cool demeanor as Constantine. Despite the occasional misfit in his role, there are moments when he’s delightful to observe. Regrettably, some of his line deliveries appear off-base, stiff, and lacking thoughtfulness.

Instead of Shia LaBeouf, who gave a disappointing performance in this film, coming off the back of his standout role in “Holes” (2003), it’s clear that his comedic relief character here was unnecessary and not well-received.

This production boasts continuous breathtaking imagery. Portraying intense spiritual conflict within a contemporary backdrop, it’s an extravagant spectacle that verges on the extraordinary. With its visually striking scenes and daring ambition, it almost succeeds in captivating viewers.

The heaven and hell depictions in it brought to mind the high-stakes, daring climaxes from “The Frighteners” (1996), another film that exudes a bold spirit and a cheeky grin. However, “Constantine” aimed for a blend of “Angel Heart” (1987) and “Ghostbusters” (1984), but didn’t quite reach that mark completely.

In my humble opinion, the latest television adaptation hit the nail on the head when it came to capturing the essence and demands of the character, yet it fell short in delivering a consistent narrative across its episodes.

Given the unique nature of “Hellblazer” as a comic book, it must be quite challenging to execute it effectively. As for “Constantine”, it seems more successful than I initially recalled; a film adaptation of a comic book that demonstrates courage and imagination. The movie never slows down, even when Reeves does not appear on screen.

He’s both an asset and a stumbling block in his own movie.

To set the record straight, it’s tough to predict a winner between John Constantine and John Wick in a fight. On one hand, John Wick has faced immense challenges, but on the other, John Constantine has visited Hell not just once, but multiple times!

Since “Constantine” has been reevaluated, appreciated as a cult classic, acknowledged in Keanu Reeves’ filmography, and accepted by film enthusiasts as a worthy production, could we perhaps consider revisiting “Johnny Mnemonic” (1995) again with fresh eyes?

Read More

2025-05-31 20:03