The Flipcritic

CONSTANTINE is a strangely intriguing film, one that I enjoyed intellectually, but not viscerally. It is a rare kind of movie, mixing the supernatural with adventure (the last I remember of this sort was END OF DAYS). Though it doesn’t achieve the grand conflict that I was expecting, it adheres to its premise as loyally as it can, and deals with issues of good and evil (albeit not too deeply) from a worldly view. What a shame that I cannot recommend this picture, despite my affection for it.

One fault why the movie fell short of my expectations lies in the way it was marketed. Its trailer promised another epic vision similar to that of THE MATRIX (which looks like the movie Mr. Reeves will forever be remembered for), this time paranormal instead of technological. I could not help but be drawn to the allure of another imaginative spectacle. And the movie’s marvelous opening scene, where a squatter discovers the Spear of Destiny (start researching dear readers), promised me even more.

Just like other movies involving angels and demons, this one contemplates the apocalypse, and of course, John Constantine (Keanu Reeves) will be the guy determined to stop it. Though it is hard to describe to what he actually is, the closest description might be “celestial janitor’. He cleans up the remnants of demonic scum that roam the human plane existing between heaven and hell. Though his actions seem noble, his intentions are not. In the process of ridding evil spirits, he saves people from suffering and death. But he does so purely to save his own soul, hoping to gain entry into paradise instead of eternal damnation. Why he believes he is meant for the latter I leave you to discover.

Mr. Constantine is sought out and met by Angela Dodson (Rachel Weisz), a police detective who foresaw Isabela, her twin sister, commit suicide in a dream, and identified her after its actuality. Though Isabela was committed, Angela insists that her sister was never suicidal. Both of them sort through the metaphysical clues left behind, and encounter several otherworldly beings (good, evil, and in-between) that help them discover the mantic machination behind it all.

These beings in question are all fascinating, probably none more captivating than the archangel Gabriel (Tilda Swinton of ORLANDO), who is neither male nor female, just divine. Its conversations with Mr. Constantine are some of the movie’s high points, especially in their first when she lovingly tells him where he is to go after death, and why. Another is Papa Midnight (Djimon Hounsou of AMISTAD), a witch doctor probably named so because of his neutrality. It is shown in his nightclub, where half-breeds (angels or demons who exist in the human plane) congregate. Mr. Constantine is also supplied with two sidekicks. The first is Chas Chandler (Shia LaBeouf), his brave young taxi driver (looking too old to be driving in the first place). The second is Beeman (Max Baker), who is to John Constantine what Q is to James Bond.

The world these characters inhabit provides some of the most interesting facets of the film. In it, Judeo-Christian laws reign supreme. Good and evil can be actually induced by third parties. Though both sides of this duality are clearly set, the movie’s view is hardly self-righteous, and Constantine’s decisions are never undemanding. He still maintains a common sense attitude towards the celestial politics occurring around him. His exclamation calling it all “hypocritical bullshit” has an eerie wisdom to it.

It is through his eyes we see this world, wherein exists a detached and sad awareness of knowing that there is no compromise. You do bad things according to the Bible, and you go to hell. These rules are so simple yet so provocative that it supplies Constantine’s existence with a very palpable sense danger and urgency. Rarely have I seen a film that has tried to deal with the rigidity of this theological framework so thoroughly. Though these rules might break down with deep analysis, they are strong enough to exist within the movie’s terms, providing a satisfying conflict and conclusion.

The film also has marvelous images and eerily gorgeous cinematography. Cinematographer Philippe Rousselot (A RIVER RUNS THROUGH IT, BIG FISH, INTERVIEW WITH THE VAMPIRE, etc.) and Art Director David Lazan (AMERICAN BEAUTY) get beautiful shots that both haunt and hypnotize. I have never seen the machinery of a bowling alley look so foreboding, or a swimming pool area look so clinically cold. And their visualization of Los Angeles after Armageddon looks as if they had walked around in Sarah Connor’s nuclear nightmare in TERMINATOR 2.

Other reasons to see the film are the performances of some of the key characters. If you were to ask me who are some of the best contemporary actresses working today, first on my list would be Cate Blanchett. The second would be Tilda Swinton, who is fantastic in her short stint as Gabriel. She plays God’s warrior with such idyllic stride, free from doubt, that she is both awesome and fearsome. Peter Stormare (FARGO) is perfect as Lucifer, and is the most satisfying personification of evil since Al Pacino in THE DEVIL’S ADVOCATE (dare I say better?). Djimon Honsou is severely underused as Papa Midnite, but teased my curiosity with what his abilities were. And Rachel Weisz continues to show her versatility with another solid role, proving that she should never be associated with THE MUMMY movies any longer.

Keanu Reeves, who has been getting a bad rap lately for his acting methods (myself included). He has been accused of being monotone and stiff, which I believe is unfair. His leading man reputation would have never been achieved if he didn’t have something to show for it, and I think this movie helped me realize just what it is. Mr. Reeves is at his best when his characters are sure-footed and in almost complete command. In movies like SPEED, MUCH ADO ABOUT NOTHING, A WALK IN THE CLOUDS, and THE DEVIL’S ADVOCATE, the confidence he portrays makes him shine. In others where his performances require weakness or emotionally deficiency, he struggles. John Constantine is one of his notable performances (think Neo with more cynicism and full of certainty), providing the gravitas the movie needs, along with the seen-it-all attitude skeptics will relate to.

So why I am I not recommending it? Well, the movie’s problems are simple yet important. I have already mentioned that it promises too much. Its climax is rationally engrossing, but essentially a tease. We are kept from a third act worthy of all that has come before it. It taunted my desires so much that I was reminded of THE MATRIX (Mr. Reeves must be mocking me), where the premise was incredible, but the end delayed until the third episode (THE MATRIX REVOLUTIONS is basically the ending THE MATRIX should have had).

Another one of the movie’s failings is its meandering. It has several moments of interest, but everything that happens in between is flat. The movie is an example of bad pacing, where the building of suspense and intrigue is drawn out far too long; tormenting our patience. I usually find most musical transitions in suspense films hokey and obvious, but I must say, this movie needed it.

So despite my fondness for CONSTANTINE, I ask you to watch it at your own risk. Its end-of-the-world rationale is highly creative by Hollywood standards, and its outlook on battle of good vs. evil is welcome. It has a hero (or anti-hero?) who does good deeds for entirely different reasons, and even a message about how dangerous absolutism can be. If only its director had been up to snuff for his material. I greatly look forward to its sequel, since it sets up everything nicely for a truly ethereal war.

Oh and by the way… stay after the credits.

Note: An immense thanks goes out to Michael Langner who helped me with this review.

Posted by FLIPCRITIC at February 17, 2005 12:53 PM