written by Kevin Bodbin and Frank Cappello from comics by Garth Ennis and Jamie Delano
directed by Francis Lawrence
starring Keanu Reeves, Rachel Weiss, Tilda Swinton and Peter Stormare
review by Stephen Notley
Quick tip for those not in the nerd loop: Constantine is based on a comic, a pretty good one called Hellblazer which covers the exploits of one John Constantine, English, tall, good-looking, blond, trenchcoat-wearing, a shifty little working-class con artist who takes the piss and runs his grifts on angels, demons and all the various brands of wanker and tosser in between. He does magic, but not the hocus-pocus spellcasting junk; it's more about just being on a first-name basis with half the beings in the pantheon. He's bluff and bluster, a rake at the gates of hell. He's a great character; you should check out the comic.
At some point Hollywood came along and decided to make a
movie version. As they so often do, they started by yanking out a central
element, John's Englishness, teleporting him thousands of miles west to L.A.
and reconstituting him as an American played by Keanu Reeves. For nerds, this
is reason enough to check out and assume that they've "screwed it
up". But regular folk haven't read the comic and care not for the fidelity
of the adaptation, so the real question is: having removed this central
component of the character, did the filmmakers have any good ideas of their own
around which they could reconstitute
The answer is, yes, sort of. Keanu's
In the course of this action he gets mixed up with Rachel Weiss as a cop investigating the death of her twin sister, and soon we're off to the races in a plot that involves several flashy demon fights, multiple day trips to an smoking deep-orange L.A.-style Hell, a cat, encounters with Orlando's Tilda Swinton as the angel Gabriel and Fargo's Peter Stormare as Lucifer, numerous submergings in water, several unearthly whisking-aways and a big flamethrowing cross-gun that shoots holy water bullets.
Lots of stuff, much of it pretty cool. Whether it really
adds up to anything is another question. Folks unfamilar with Hellblazer won't
be able to tell that the story is a kludged-together assemblage of scenes,
bits, ideas and lines of dialogue from various storylines from the comic
combined with more Hollywood-esque stuff like the big cross-gun; they'll just
see Keanu marchin' around zapping demons and getting the job done and at the
end of the day, well, he quits smoking. Satisfying? You decide. As a
horroresque action movie,