John Constantine has literally been to Hell and back. When he teams up with a policewoman to solve the mysterious suicide of her twin sister, their investigation takes them through the world of demons and angels that exists beneath the landscape of contemporary Los Angeles.
Constantine landed in genuinely split territory on release: admirers found its theological noir atmosphere and Keanu Reeves' deadpan composure oddly compelling, while detractors thought the whole enterprise too muddled and silly to hold together. The gap between the Hellblazer source material and the finished film was a specific flashpoint, and even broadly positive reviewers tended to concede the climax falls apart. Audience affection has proven considerably warmer than the critical record.
“a one-of-a-kind hybrid: a theological noir action film”
Richard Corliss·Time
“the film (barely) succeeds, thanks to impressive visuals, the idea of an uncaring God wagering with Satan for souls, and two immensely enjoyable scenes (one with Weisz, one with Stormare) in which Reeves actually plays his character as the cynical asshole he really is”
Pete Vonder Haar·Film Threat
“For all its spiritual angst, Constantine is about as silly as fantasies get”
Jack Mathews·New York Daily News
“It all comes off as a case of filmmakers wanting to have their communion wafer and eat it, too”
Michael Sragow·The Baltimore Sun
“Keanu Reeves has no peer when it comes to playing these sort of messianic roles—he infuses them with a Zen blankness and serenity that somehow gets him through even the unlikeliest scenes with a quiet, unassuming dignity”
Carina Chocano·Los Angeles Times
Action, Fantasy, Horror
John Constantine has literally been to Hell and back. When he teams up with a policewoman to solve the mysterious suicide of her twin sister, their investigation takes them through the world of demons and angels that exists beneath the landscape of contemporary Los Angeles.
Constantine landed in genuinely split territory on release: admirers found its theological noir atmosphere and Keanu Reeves' deadpan composure oddly compelling, while detractors thought the whole enterprise too muddled and silly to hold together. The gap between the Hellblazer source material and the finished film was a specific flashpoint, and even broadly positive reviewers tended to concede the climax falls apart. Audience affection has proven considerably warmer than the critical record.
“a one-of-a-kind hybrid: a theological noir action film”
Richard Corliss·Time
“the film (barely) succeeds, thanks to impressive visuals, the idea of an uncaring God wagering with Satan for souls, and two immensely enjoyable scenes (one with Weisz, one with Stormare) in which Reeves actually plays his character as the cynical asshole he really is”
Pete Vonder Haar·Film Threat
“For all its spiritual angst, Constantine is about as silly as fantasies get”
Jack Mathews·New York Daily News
“It all comes off as a case of filmmakers wanting to have their communion wafer and eat it, too”
Michael Sragow·The Baltimore Sun
“Keanu Reeves has no peer when it comes to playing these sort of messianic roles—he infuses them with a Zen blankness and serenity that somehow gets him through even the unlikeliest scenes with a quiet, unassuming dignity”
Carina Chocano·Los Angeles Times
Action, Fantasy, Horror