Heaven and hell are engaged in a wager for human souls and half-breed human-demon creatures are roaming the Earth. Heroes are not necessarily saints, but if you are looking for a saint, you can find one hanging out in strange, unmarked libraries waiting to give advice. Where else could all of this take place but contemporary Los Angeles?
The setting is one of the many things in action film “Constantine” that works. “Constantine” is set in your standard comic-book-adapted setting: a large, seedy-looking city that never seems to receive enough light, no matter where you go. Although nothing new, it serves as a good backdrop for the film’s dark subject matter and blemished characters.
In his feature film directorial debut, Francis Lawrence II proves that he is suitable for jobs beyond MTV. Perhaps it is his background as a popular music video director, working with artists such as Britney Spears, Aerosmith, and Black Eyed Peas, which gave him the basis to turn an outlandish pretense into a film that capitalizes on a clever plot and visual gimmicks.
“Constantine,” a film based on DC/Vertigo comic Hellblazer, revolves around a hero, John Constantine (Keanu Reeves), who is reluctant, embittered, and quite far from noble, making him more like you or me than your usual knight-in-shining-armor character. He smokes, he swears, and he’s doing good deeds, not for the greater good of mankind, but for his self-serving goal of winning his way back to heaven.
Keanu Reeves is barely passable and quite miscast in the lead role. The boyish, wholesome look and manner made might justify his role as Neo in “The Matrix” clashes with “Constantine.” Reeves never looks quite as bitter or hardened as the audience is supposed to believe he is. According to Internet Movie Database, it was Reeves’ acting that played the major role in making John Constantine’s place of origin California rather than Liverpool, like in the comic book, because “it was felt he couldn’t play a convincing Brit.” I think Reeves still has trouble playing a convincing Californian, and might possibly have trouble playing a convincing Keanu Reeves.
The movie’s best quality is its smooth movement throughout. It does not take long to start, and the action is well-placed so the audience does not lose interest. The use of unexpected, but cleverly done comic relief moments in the film keep it from becoming too heavy, too preachy, or just plain dull, give or take a few cheesy moments, that is.
Although it does have a tendency to come across as a big anti-smoking campaign (at one point Lucifer himself offers Constantine a light for his cigarette saying, “please, I have stock…”), the religious aspects of the movie were well-woven into the film so that religion serves as a basis for the story, and not as a moral struggling to break through.
Aside from Reeves, the rest of the film is generally well-cast, especially Peter Stormare as a Satan who is much more suave than you’d expect, but every bit as malicious. This demonstrates another of the movie’s strong points-an ability to break away from stereotypes such as a red fiery Satan complete with horns, and instead head towards imagery that is more modern and effective, not silly.
Overall, “Constantine” is a good catch. It is enjoyable, action-filled, and has a good plot. Instead of being outlandish and ridiculous, the movie should please comic book aficionados with its well-constructed delivery and look. If you find yourself with a free Friday night and an extra $10, go catch it-it won’t change your life, but it might just prepare you for a trip to Los Angeles.
