I’ve read maybe two issues of Hellblazer in my life, so I’ve got no real background on this John Constantine character except that in the comic, Constantine is:
- British
- Blonde
- Vaguely Sting-esque
- A Rogue
- A Magician. I think.
Keanu Reeves is none of those things except, perhaps, a magician. It would explain how he keeps landing these sorts of blockbuster roles (Thank you! Thank you very much! Don't forget to tip!). It’s not that Reeves is a bad actor. He’s not. He’s certainly focused, dedicated, committed. All the things great actors tend to be (with the obvious exceptions of old drunk English actors, who appear to have been able to conjure great work from the bottom of a whiskey bottle). But he is limited.
If I was a fan of the comic, I think I’d be pretty outraged by the way they’ve altered the character of John Constantine from the source material on its way to the big screen. As it is, I found the character intriguing enough that I wished they gone with someone who could really…well, emote. JC is an interesting cat. From the dialogue and the way Reeves half-successfully conveys him, this is one screwed-up, lost soul, and in the hands of the right actor, this could have been much more than a fun ride. It could have been classic.
My final verdict? It’s pretty good. I’d see a sequel. It’s not great, though it might have been. This is a film that could have been a cousin to Blade Runner, Aliens, Pitch Black, the Exorcist…a movie that could have given us what I’ve been longing for since first catching Fred Ward in HBO’s underrated “Cast A Deadly Spell” over a decade ago: A great supernatural film noir. The two genres are a natural fit for one another, sharing the same taste for the seedy underbelly of existence. Its just that one of those underbellies is Chthulu’s, and the others’ is Crime.
The biggest thing Constantine has going for it is its approach. The director is way more comfortable directing a movie like this than he should be, given that he’s never shot a feature before. The movie is confident. One never gets the sense that the director is trying to dazzle you with fancy camera work. Instead, he lets it tell the story. The effects, almost uniformly well done, blend pretty darn seamlessly, and as a whole, the film is visually compelling, and admirably detailed.
In addition, the script sort of drops you into the middle of this strange world and takes off, not waiting for you to catch up. Unlike a lot of films, Constantine doesn’t beat you over the head with its mythology, as if afraid you won’t understand it. Grace notes like the screech beetle in the Cleopatra matchbox, Midnite’s past friendship with Constantine and his friends, Balthazar’s meeting with Midnite in his club, are not fully explained, lending them an air of history and mystery that’s refreshing. It lets your mind fill in the blanks on these characters in a way novels seem to feel more comfortable doing than films.
Several of the supporting players make favorable impressions, chief amongst them being Gavin Rossdale. Rossdale is the ex-lead singer for Bush, a band that was briefly popular in the 90’s, and the husband to Gwen Stephani. So it makes perfect sense to cast him as a devil, as he’s obviously sold his soul to one. He’s really good in this. He’s totally relaxed and confident, and it makes what could have been a Tyler Mane Sabretooth role into something memorable.
A side note: Has anyone else noticed that in Rossdale’s conference room there are two televisions playing a rotating display of fluttering American flags, bald eagles and fireworks? Is there a statement being made here by the director?
Also quite good is Shia LeBeouf (sp?). I despise “kid sidekicks,” and his role in I, Robot felt shoehorned in for no good, discernable reason, but that was less his performance than the script. I’ve seen him on late night tv, and he seems like kind of a punk, but a nice, intelligent punk you’d want around for beers and good conversation. I like that they killed him off, but again, Keanu’s not enough the character to sell any real grief in that moment.
Tilda Swinton’s good enough I suppose, though she’s largely an expository device. The real revelatory performance here is Peter Stormare who gives one of the iconic Prince of Darkness Performances. First, the visual is pretty classic. Stormare arrives in the film wearing a slightly chintzy white suit, no tie. Spiked tribal tattoos peek out from his collar and shirt sleeves, his feet bare, slightly smoking, and covered in an inexplicable black tar. It’s creepy and cool all at once. And Stormare does the audience one better by giving satan a twisted, feyly menacing inhumanity. Its as if the slightly bloated Stormare is simply the skin suit this ancient evil has slipped on, and its almost possible to see a presence shifting under Stormare’s uncomfortable, twitching figure.
If they’d had someone of depth and emotional gravity playing Constantine, this could have been one of the greats. Imagining someone like Paul Bettany or Jude Law in the role makes me a little sad. If we’d bought a little further into Constantine’s humanity, maybe his quasi-redemption at the end would have some heft behind it. As it is, it’s a perfectly serviceable first entry, not unlike the first X-Men in the small details it nails perfectly, and a larger central defect that’s sort of glaring.