Between the “Matrix” and “John Wick” franchises, Keanu Reeves took a stab at another franchise with “Constantine” (2005), based on the DC/Vertigo comics antihero (invented in 1985) who can see demons in their true form. It didn’t launch a movie saga – perhaps because it gets overblown in the back half — but it was followed by a TV series (2014-15), and both the film and series have loyal fans.
Reeves fits the role
As with Neo and Wick, Reeves is a good fit for the role of John Constantine, who smokes, uses few words and shuts himself off from the world except when fighting demons. “Constantine” starts with John performing an exorcism, while on a parallel track we meet police detective Angela (Rachel Weisz), whose twin sister Isabel (also Weisz) commits suicide by jumping off a building. Her body ends up in a swimming pool that’s shaped like a cross; this movie isn’t shy about imagery.
Director Francis Lawrence’s film looks great as it mixes noir, horror and religion. When Constantine emerges from a Catholic library, having been given bad news by the angel Gabriel (Tilda Swinton, taking advantage of her androgynous looks), he looks out at the pouring rain and says “At least it’s nice out.”
“Constantine” (2005)
Director: Francis Lawrence
Writers: Jamie Delano, Garth Ennis, Kevin Brodbin
Stars: Keanu Reeves, Rachel Weisz, Djimon Hounsou
Honestly, it is nice to spend time in “Constantine’s” world if you like deliciously lived-in and repurposed architecture. John’s apartment is narrow; entering through the front door, you can look straight back through the kitchen/dining room and living room to his bedroom. John’s ally, Beeman (Max Baker), lives behind the pin setters in a bowling alley, and he has different colored jars hanging from the ceiling in the corner he uses for an office.
The coolest bit of repurposing in “Constantine” – written by Kevin Brodbin and Frank Cappello – is that its mythology comes from one of the earliest superhero stories: the Bible. Angels and demons can’t come to Earth, but half-breed angels like Gabriel and half-breed demons can. John theorizes that God and the Devil are playing a game, using these half-breeds as pawns to try to influence humans. At another point, he likens God to a child playing with an ant farm.
Between this screen-realized mythology and the rain and Constantine’s entertaining rudeness toward Angela, the first half of this movie is totally engrossing. Then the story and action kick into high gear. It’s some sort of grandiose power play involving God, the Devil (Peter Stormare), Gabriel, John and Angela, with Isabel’s soul hanging in the balance.
Confusing final act
I feel less guilty about not being able to follow the final act of “Constantine” after seeing that one of the FAQs on IMDB is “What exactly happens at the end?” It turns out that some neat things happen, all adhering to the rules of the Bible and the supernatural powers of its main players. It’s not presented in the clearest fashion, though.
Still, “Constantine” is enjoyable for most of its two hours thanks to its visual palette, the chemistry between Reeves and Weisz (which balances their characters’ antagonism) and a handful of nicely illustrated moments.
For example, before diving into this case, John needs to visit Hell to see if Isabel is indeed there. The method involves putting his feet in water and holding a cat, and while it’s goofy, the mood is such that the tone stays serious.
“Constantine” isn’t strikingly original enough to make me lament the lack of sequels. Supernaturally driven mysteries pepper film and TV history — CBS’ “Evil” is a current example — so if I want to dive into a world like this, I don’t have to look far. “Constantine” is a little different in that it comes from a superhero comic and draws specifically from the Bible. Or if it doesn’t, it fools a heathen like me by referencing Scripture, along with a neat expansion on the concept: A Hell Bible that includes bonus chapters.
It’s all in good fun, but the weight of religious belief that permeates humanity is still present. “Constantine” runs off the rails in terms of stakes and spectacle, but when it’s a brooding style piece, it’s a slice of movie-watching Heaven.