Constantine

Constantine is one of those films that you might not fully get into the first time around, but you’ll enjoy it all the more the second time. It draws us into its own world straddling the line between reality and fiction, combined with serious questions of religion from our everyday lives. It is distinctive and intelligent as it cleverly deals with some relatively crazy subject matter. The film’s visual appeal never slides into self-indulgence, the characters are well developed and the actors do a very respectable job. Constantine is not entirely for mainstream viewers, but rather a notable curiosity for connoisseurs. One could almost call it a “big-budget underground” flick. (14/04/2005)

great future prospect in the field of the fantasy genre, but on the whole I found the film overwrought to the point of shame and also terribly uninteresting and slow. Maybe the fact that it's based on a comic book hurt it, because comic book movies have a specific order and attitude that didn't fit this story for me at all. Or maybe it's because I'm not a true connoisseur, as POMO points out in his review, and I wasn’t able to appreciate the film enough the first time. I think the latter option is the more likely :) (06/10/2012)

The wisecracking Keanu Reeves fits like a glove, and I can hardly imagine anyone else in the role of Constantine. Francis Lawrence combines interesting themes, visual diversity, and technical finesse into a rather intriguing and good-looking whole, about which you can doubt as much as you want, but you still won't be able to take your eyes off it. (28/09/2005)

This is how comic book adaptations should be done – going your own way to the sound of fanboys gnashing their teeth. With Constantine, the filmmakers understood that comic books – not just the mainstream ones but also the overground alternative ones –  are essentially a load of overwrought clichés, posturing and superficiality with a hint of something deeper. When this idea is appropriately grasped and executed, however, it can be tremendously entertaining, covering the full spectrum from camp cringe to unironic love. The casting of Keanu Reeves is a brilliant move, turning the existentially brooding hero into the greatest sufferer in blockbuster history instead of just another dark and gritty cliché. Whenever he lights a cigarette, utters a line loaded with fatalism or makes himself unavailable, you feel like hugging him. This is greatly supported by Rachel Weisz as a cool chick with a gun in a clearing surrounded by demons. Their chemistry together works magnificently, which delightfully enhances the plot to the point that you wish you could diabolically stop time and push them into a kiss. On top of that, the refined camerawork revels in those magnificent faces in unconventional widescreen compositions and the precise production design is part of fun world-building where something is ridiculously literal and something else is simply just happening. When Reeves first flicks open his Zippo, you get a silly grin on your face, which is surpassed only by the unadulterated pleasure provided by Tilda Swinton as the ethereally haughty archangel Gabriel and Peter Stormare in the role of Satan. (24/03/2023)

Cold-blooded Reeves as a savior, who perhaps surpasses even Nea with his charisma, as a hero who is not ashamed to flick his last cigarette in his own blood, and as a tough guy who sends all demons, including Satan, somewhere nice and fast with every gesture. And all the infernal supernaturalism in the inquisitive spirit of an authentic detective story, as no one has tried in the comic genre before. (30/04/2006)