Constantine Movie Review: By Adam Mast, ZBoneMan.com

Constantine is a dark, rather brooding action-thriller based on the popular DC\Vertigo comic book Hellblazer by Kevin Brodbin, Mark Bomback and Frank Capello. As a film, it’s strongest attribute is clearly it’s striking visual tone, which points to a promising future for it’s creative director, Francis Lawrence (a veteran music video director).

Constantine features Keanu Reeves as the title character, a cynical, bitter individual who runs around the city exorcising demons from unsuspecting victims. He’s had this gift (or as he likes to call it – a curse) since childhood. But there are rules that govern all this supernatural gamesmanship. Demons are able to influence and invade a host, but they are unable to actually cross into our world and create mischief – that is, until now. As Constantine attempts to get to the bottom of this unsettling development, he is lead to police officer Angela Dodson, a grief-stricken woman who is mourning the loss of her twin sister. Constantine opens Angela’s eyes to a world she never consciously knew existed, and together, the odd pair (or God Couple) embark on a harrowing journey to discover the source of the evil that is plaguing their lives.

From the opening scene, I was immediately won over by the style of this movie. Lawrence’s images paint a thousand words. Constantine does have a fair share of flashy moments, but they never drown out the experience. Lawrence does allow the movie to breathe and even leaves room for a little drama. Take for instance Angela’s situation. Her reason for deciding to become involved with Constantine is one of the most compelling and dramatic aspects of the film.

Keanu Reeves hams it up as the hard-boiled and reluctant hero John Constantine, a chain smoking cynic who does what he does in hopes that he might win enough brownie points with the man upstairs so that one day, when the dust has settled, he will be allowed admittance into heaven. Reeves appears to be meshing characteristics of his roles in The Matrix and The Devil’s Advocate with mixed results. This is definitely one of those more wooden performances that he is often roasted because of. Rachel Weisz lends emotion to the proceedings as a woman who desperately wants to know why her devout catholic sister has committed suicide.

Gavin Rossdale (of rock band Bush) turns in a sly cameo as the bad boy Balthazar, while independent film darling Tilda Swinton makes a brief but charismatic appearance as the power-hungry Gabriel. There are other noteworthy actors who make up the supporting cast, but they’re virtually unnecessary. The commanding Djimoun Hounsou shows up for all of five minutes as a sort of mediator between the world of men and the valley of supernatural beings, while the likable Shia LaBeouf shows up as Constantine’s sidekick; a wasted role that’s on par with his seemingly worthless part in last summer’s I, Robot. This kid deserves better.

Unfortunately, the screenplay never finds a true rhythm, and this ultimately diminishes the world Lawrence has vividly tried to bring to the screen. With it’s religious theologies and focus on spirituality, Constantine certainly brought to mind Mike Nichols’ Angels in America, the Christopher Walken thriller Prophecy and, to some extent, Kevin Smith’s Dogma (minus the lethal dose of bathroom humor), but it’s undercurrent of cheesy dialogue and b-movie posturing (wait until you see the fashion in which eccentric actor Peter Stormare plays the Prince of Darkness) keep it from reaching it’s true potential.

There will, no doubt, be many who are offended by the religious undertones as presented by this sort of Blade-inspired action movie. In the end though, the writing is just so facile and silly as to render this concern all but moot. The real reason to see Constantine is to marvel at the visual bravado director Francis Lawrence has brought to the screen. I can’t wait to see what this guy does next.

Grade: B-

Adam Mast, ZBoneMan.com