MOVIE REVIEW: Keanu Reeves doesn’t pull ‘Constantine’ from Hell
Grade: C
While leaving the theater after seeing this film, my mind was dwelling on two things. First, where did Keanu Reeves (“The Matrix”) develop his acting skills? And second, what kind of troubled person came up with the idea for the premise of this show?
“Constantine” is based on a DC/Vertigo comic book series entitled “Hellblazer”, about a modern-day man battling the omnipresent forces of hell. Reeves plays this man, John Constantine, and we are slowly exposed to his role within the universal battle between heaven and hell for the souls of all mankind. Although all the technical elements of “Constantine” are exquisite, the acting is less than amazing and fails to evoke a respectful attitude from the audience. “Constantine” shows a few moments of creativity, but overall will seem like a freak show to mainstream audiences.
John Constantine is a bitter, cynical, chain-smoking exorcist whose personality can be explained with one adjective: blasé. I suppose this is why Reeves speaks every single word in a low, monotone whisper and his stoic face rarely changes its expression. Since Reeves maintains this blasé demeanor from beginning to end there doesn’t seem to be any development or humanistic qualities of progression.
This film is just about another day in the life of a regular guy sauntering through the seedy neighborhoods of Los Angeles and fighting other-worldly demons. It is plain to see that Reeves doesn’t have a lot to work with in terms of characterization or storyline, but he doesn’t seem to contribute a lot either. He embodies the Constantine character well but does little to impress the audience or make it realistic.
The supporting cast consists of Rachel Weisz (“Runaway Jury”), a fragile homicide detective trying to cope with the suicide of her twin sister, and Shia LaBeouf (“Holes”), Constantine’s faithful but frustrated cab driver.
Weist adds considerable emotion to the film as she is taken into Constantine’s world and confronts the truth behind her sister’s death. And LeBouf adds helpful specks of humor through physical comedy and confident, but inept, assistance to Reeves.
We are also shown some slightly imaginative representations of spiritual beings, including the angel Gabriel and Satan. While all these characters add some color and creativity to the overtly dark mood of the film, they are ultimately overshadowed by the graphic violence and unsettling images of death and hell. The set design of dim apartments and smoky bars is well executed and the odd camera positions help enforce the creepy atmosphere even further. The visual and sound effects are incredible and offer detailed imagery of people dying, people being possessed, Reeves traveling in and out of hell and demons being blown to pieces. The effect of these grotesque events doesn’t leave much to the imagination and are more disturbing than entertaining.
Constantine has a gift; he can see angels (both from heaven and from hell). So he has been appointed by God to save helpless mortals from demonic possessions and banish the devil’s minions back where they came from. And he does just that. Constantine, however, fails to save us from a film which, put simply, just makes our noses crinkle and our seats feel uncomfortable.
However, it’s a great film for lovers of anything gothic or anything of the occult but will seem too weird to other people.
Casey T. Allen is a junior majoring in English and reviews movies for the Utah Statesman. Comments may be sent to caseyal@cc.usu.edu