I Don’t Need More Constantine, I Need More Movies Like Constantine

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In the film “Constantine,” everything is tinged green, giving an impression as if the entire world was ailing, not just the movie’s critically ill protagonist. This color grading choice, popular in films at the turn of the millennium, created a sickly hue that conveyed urban gothic sensibilities and disillusionment while intensifying the physical paleness of already weak leads. For me, Francis Lawrence’s debut directorial work about a psychic consultant stands out as the most compelling representation of this aesthetic. The film “Constantine” has a tangible affection for the intricate details it presents on screen – from the grungy subway tiles in John Constantine’s kitchen to the burgundy church pews to the lock of hair that keeps falling over Keanu Reeves’ forehead – making any larger message seem secondary.

The movie “Constantine” is incredibly enjoyable, and it’s easier to acknowledge this now that it has distanced itself from the initial reception it received when it was first released 20 years ago. Back in 2005, “Constantine” was often criticized as a copycat of “The Matrix” and a disappointing adaptation of a DC Comics character. Fans of “The Matrix” found Keanu Reeves’s portrayal of another gifted character capable of seeing the true nature of reality to be too familiar, while fans of the comic book character were frustrated by the transformation of the blond Liverpudlian into a brunet Angeleno. (As is his custom, “Constantine” co-creator Alan Moore disavowed the film.) It was a point of contention for many viewers at the time that Keanu Reeves was not well-received. He was often used as a standalone punchline for wooden acting, to the extent that a satirical stage version of “Point Break” that premiered two years earlier featured an audience member reading cue cards to play Reeves’s part.

In essence, Constantine’s performance by Reeves isn’t his best, primarily because the casual tone of his voice doesn’t fit well with the script’s frequent dry wit. Additionally, although he is a real-life smoker, his portrayal of the character’s deadly smoking habit seems overly dramatic, reminiscent of a high school student trying to reinvent themselves as a rock star. However, it’s important to note that Reeves was incredibly handsome during this time, giving off an air of melancholy as he wandered around a gloomy L.A., dressed in a wrinkled dress shirt and loose black tie, suggesting he had just finished a more professional day job that didn’t really exist. Essentially, he embodies a modern-day interpretation of a consumptive from the Victorian era, complete with blood-streaked coughs and a subtle sheen of sweat that appears otherworldly.

Although Reeves may not have perfectly fit the role, he was suitable for the movie itself, a paradox that wouldn’t be accepted in later years when the intellectual property like that of Constantine became crucial, carrying the expectations of fans and corporate agendas alike. The film’s success lies in its casual approach to faithfulness, as it focuses more on its own identity as a movie rather than an adaptation or a brand-building masterpiece.

Constantine, despite not being a box office bomb (it earned over $230 million globally), gained cult classic status less from its initial theater run and more from its frequent showings on cable in the following years. During this time, it was able to shed unnecessary elements and be recognized as the enjoyable film it truly is.

https://youtube.com/watch?v=watch?v=fqymXN3cdy4

This urban fantasy offers a captivating take on a covert battle between God and Satan, subtly weaving noir motifs throughout the narrative. Instead of traditional characters, angels and demons represent sinister figures like ruthless tycoons and dishonest bureaucrats. The protagonist, Constantine, functions as a bounty hunter, tracking down and expelling errant entities from our world in an attempt to redeem himself from his own condemnation. In essence, he’s a detective with supernatural elements, residing in a multi-purpose workspace where the glow from the city below creates dramatic shadows that accentuate his pensive expression through the window slats.

In this film, Reeves’ character is matched by Rachel Weisz portraying twin sisters, one before her later role in the remake of Dead Ringers. She plays a doubting client and a mystical victim whose death, a jump from a psychiatric hospital roof, leaves a chilling impact. However, it’s the ensemble cast that truly shines, with an array of unique characters that never feel overshadowed. Pruitt Taylor Vince takes on a nervous alcoholic priest who claims to hear voices from the dead, Djimon Hounsou becomes an imposing witch doctor-turned-bar owner in a fedora and fur collar, Shia LaBeouf portrays Constantine’s restless apprentice, and Max Baker plays a dealer of occult items who operates secretly from the back of an abandoned bowling alley. Each character adds depth to the story without being overlooked.

Before we even touch on the extraordinary performances, let’s talk about some remarkable highlights. For instance, Gavin Rossdale from Bush delivers an outstanding portrayal of Balthazar, a demon masked by his attractive Britpop image and corporate attire, sneering through wicked acts while casually flipping coins across his knuckles. Similarly, Tilda Swinton, relatively unknown to American viewers at the time, brings an otherworldly charm as androgynous angel Gabriel with her Windsor knot, wavy haircut, and a positivity that’s dangerously reminiscent of a zealous youth pastor advocating for conversion therapy. Last but not least, Peter Stormare plays Lucifer himself, descending in a white suit and bare feet coated in tar, resembling a demonic version of a debonair southern gentleman whose eyebrows were singed by the fires of hell.

In the gripping movie “Constantine,” I found myself captivated by Rachel Weisz’s portrayal of LAPD detective Angela, who is more engrossed in her deceased sister’s mystery than romantic entanglements. However, the tantalizing atmosphere created by the characters leaves no room for boredom. Instead of traditional romance, they opt for a subtly menacing form of flirtation that seems to be an intricate part of the film’s eerie charm.

Characters, both angelic and demonic, appear to have an irresistible pull towards Constantine, often coming dangerously close to a kiss in their efforts to keep him at bay. Even Satan, amidst his chilling threats, finds a moment to playfully stroke the dying man’s thigh with his foot, adding another layer of tension to this already gripping tale.

Similar to Constantine, who exposes intricate runes on his arms beneath his formal attire, Lucifer sports tattoos peeking out from the hem of his tailored clothes. The ink hidden beneath businesswear serves as an apt metaphor for the movie’s allure, which, despite being somewhat reminiscent of its era – featuring a club scene filled with androgynous, lithe patrons grooving to A Perfect Circle – only appears outdated in the sporadic scenes that utilize computer graphics, where hell is portrayed as the aftermath of an atomic explosion. However, the film’s central enigma, revolving around a psychiatric patient’s death and the discovery of the Spear of Destiny at a distant location, is complex in a manner that Raymond Chandler would admire – it has a labyrinthine quality that you can embrace, knowing it’s not meant to be fully comprehended. The narrative unfolds through a sequence of stylish interactions, with the journey itself being the focus, rather than the destination.

As someone who’s always conscious about my tastes, I often fear that I’m stuck in my formative years and unable to appreciate new things. There’s this nagging concern that I’ve turned into an old timer, lamenting about how everything used to be better, when in reality, it might just be a reflection of aging out of the target audience. However, Constantine, despite its roots in bygone norms, offers a satisfaction that can no longer be taken for granted.

Fritz Lawrence, who started as a music video director and moved on to directing successful studio films like the Hunger Games series, brings his sleek visual style to this movie. Yet, it’s not just the aesthetics that shine; there’s an underlying competence in casting and lighting that feels reminiscent of RETVRN-esque nostalgia.

When Constantine first came out, critics dismissed it as familiar or forgettable. A.O. Scott from the New York Times even quipped, “I will try to reconstruct some impression of Constantine, which all evidence, save my own memory, insists that I saw not long ago.” The fact that this movie is still memorable might say more about our lowered expectations for basic standards than it does about the film itself.

Constantine isn’t an extraordinary masterpiece, yet that’s precisely what makes watching it so delightful and leaves me indifferent about potential sequels. Instead of craving another Constantine, I yearn for more films similar to it – the kind you might accidentally discover while channel surfing, finding yourself captivated by a scene featuring Michael Sheen in intricate cargo pants and an unusual green hue, menacingly uttering “I will make you worthy of His love” as part of a typical Hollywood production. When described, the movie sounds like it could be cheesy, but upon viewing, it brims with vitality, demonstrating how much excitement can be packed into a film, even within the constraints of a seemingly random studio project based on a comic book adaptation.

It’s easier to appreciate extraordinary things; what needs attention now are ordinary matters that could benefit from more space and individuality. Constantine, in its own way, is a testament to feeling less than great while sporting stylish attire, and those responsible for everyday amusement might learn something from this.

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2025-03-04 17:49