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. (04/14/2005)

Constantine was one of the surprising adaptations of DC Comics in its time. It took enough from its source material, "Hellblazer," to generate interest on both sides, but also became such a distinct work that it faced issues with sequels. If John Constantine were to be more faithful to the comics in the future and return to being a blonde, he would inevitably face comparisons with Keanu Reeves. However, the film hasn't been forgotten, whether due to its excellent cast—alongside Reeves, there's the divine Rachel Weisz and Tilda Swinton, and two problematic figures, Shia LaBeouf and Gavin Rossdale. A film that constantly has one foot in hell is ideal for reflecting on one's own fears. (08/20/2024)

Well, Constantine may be many things, but its hardly a second Matrix. Admittedly, both the visual styling and the intertwining alternative world motifs seem like a good foundation. But Lawrence's film does not have the figurative power of the Wachowski brothers' opus, and even the main idea is communicated too lazily, intermittently, as if trying to camouflage its simplicity. Yes, all those religious discussions are bearable and sometimes interesting, but it simply cannot match the postmodern straightforward power of The Matrix metaphor. But that's the only negative thing I'd point out about Constantine. Otherwise, it is a very entertaining and interesting film in all respects. I quite like the torn concept of Reeves, even though the dark side is hard to believe with his angelic face... But Constantine needed a star. The craftsmanship packaging, including the effects and visuals, is really good and corresponds pleasantly to the story. In the end the final gradation and a hint of twist outweighed my complete impression and the good side. A four-star spectacle with a hopeful, half-open ending. I'm just not sure a sequel would benefit Constantine. (10/02/2006)

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. (09/28/2005)

Forget about Max von Sydow, here comes the coolest exorcist to ever grace the screen. The digital beasts bothered me the least of all (and they are not overabundant, as others have mentioned), on the contrary, I enjoyed the intriguing plot, the overflowing charisma of the great Reeves, the beauty of my sex idol Rachel Weisz, and several visually memorable scenes. And the last twenty minutes, with a clever and witty twist and the most stylish Lucifer in years (Stormare really is the devil), make Constantine a truly outstanding film. 4 1/2 *. Oh, and don't smoke or you'll go to hell. (06/27/2005)