I consider myself a major comic fan, yet I'm not that familiar with the world of John Constantine. Created by Alan Moore during his run on DC Comics' Swamp Thing 20 years ago, the character proved popular enough to spin off into his own series entitled Hellblazer. A proposed live-action film has been kicked around nearly as long, with names like Sting (whom the character's look was based on) and Julian Sands bandied about.
So I can understand why fans got up in arms when Keanu Reeves was cast as Constantine two years ago. After all, in the comics the character is a blond Liverpudlian with a foul mouth, while Reeves... isn't. (I'd actually like to see a more faithful Hellblazer - it seems like a simple and inexpensive risk for a studio, even to someone like myself who has only a base understanding of the character. It seems the majority of comic fans have to endure seeing a beloved character change for film purposes at some point, and sadly, it's Hellblazer fans' turn.) Still, the trailers at least promised a neat visual ride, so it was best to reserve final judgment until I saw the film. About ten minutes in, I leaned over to the buddy whom I went with and said 'I need to start reading this comic.'
The plot concerns two interweaving storylines. One opens the film - the fabled Spear of Destiny being unearthed in Mexico. The mystical talisman possesses the unlucky worker who discovered it, and as he heads to Los Angeles, where we meet the title character to begin the other storyline. While he's taking a post-exorcism drag off of his ever-present cigarette, the audience is brought up to speed on the details of his life: Born with the ability to see half-angels and half-demons here on Earth, he committed suicide at 15 as his visions started interfering with his day-to-day existence. Brought back to life after two minutes, he now tries to buy his way into Heaven by sending those spirits that meddle with human matters back.
Constantine's developed a reputation over the years, and it's what brings Angela Dodson (Rachel Weisz) to his door. Her twin sister was a devout Catholic, and Angela believes that she couldn't possibly have committed suicide, as all the evidence points to. While he's trying to unlock that mystery, the amount of demons crossing over to Earth has increased, also requiring his services. Both plotlines cross together in a wild finale that brings together both Heaven and Hell's finest.
This version of John Constantine can be best described as The Exorcist's Father Merrin crossed with the chain-smoking and generally bitter outlook of Denis Leary (though not nearly as funny). Reeves does well with the role. There's no 'whoa' here, none of the things moviegoers have come to recognize from the actor. His Constantine may not be the character as originally intended, but it's nowhere near as bad as some feared. I suppose there's some inherent irony about an American playing a character who was originally British, while his female lead is a Briton playing an American. That aside, Rachel Weisz is no stranger to effects-heavy films, being in The Mummy and The Mummy Returns, so she can pretend as well as anyone else. (Though that bathtub scene that's in the trailer is very much real.)
The supporting cast comes through very well. Tilda Swinton may be an unknown face to American mainstream audiences, but she shows off her acting chops as Constantine's contact in Heaven, the Archangel Gabriel. Dijmon Hounsou is more well-known, but no less effective as Papa Midnite. If the film is successful, you can bet we'll see more of those two in the inevitable sequel. Some unlikely faces also make an impact. I was shocked that Shia LeBeouf's character didn't bother me, that might have been because he wasn't in the film enough to get on my nerves. I will say that his character here didn't feel as out of place and perfunctory as his I, Robot role did. I haven't seen Gavin Rossdale act before this, but he doesn't embarrass himself like some other musicians-turned-actors (take a bow, Kylie Minogue). While I've only seen Peter Stormare in goofy roles primarily as comic relief (particularly Armageddon and Bad Boys II), his 10 minutes here are so much more than comic relief.
The visual effects are top-notch, effectively turning Los Angeles into a land of demons, angels and Satan's hangout. It shouldn't be a surprise, since director Francis Lawrence's background was in music videos. What did surprise me was the melding of Lawrence's visuals and the script by various writers, though cast members have praised producer Akiva Goldsman's work in interviews. You may remember Goldsman as the writer behind the universally hated Batman & Robin, yet the tone here fits the material, unlike that Bat-disaster. It's dark, bitter and laced with angry humor. From what little I've heard of composer Brian Tyler's work, he likes to use ethnic instruments to enhance his orchestral scores. That works well for the film, but I couldn't help thinking of various Peter Gabriel recordings.
My only problem with the whole thing is that it felt a bit slow at times. However, that may very well have been because the gentleman sitting on my right was squirming the entire time. He asked the people next to him what the movie was about 10 minutes before it started, which should have been a hint that he wouldn't care for it. I'm interested to see what happens the next time I see the film.
On paper this should not have worked. Reeves as the lead, directed by a first-timer whose only experience was in music videos and featuring a script by a man whose name in the credit block gives comic fans spasms of terror. Yet somehow the elements come together in an entertaining mix. Expect The Matrix or Alan Moore's John Constantine, and you'll be disappointed. Expect a dark, grim tale of Heaven and Hell, and you'll enjoy the first surprise of the new year. Recommended.
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