Visuals and attitude -- not for kids.
| Original Score: 3/5
An enjoyable revelation.
A very satisfying film.
It's just sad that a movie ostensibly based on a frequently intelligent comic book should end up a no-brainer.
Halfway through Constantine, a fully clad Keanu Reeves steps into a shallow pail of water, sits on a chair next to it and holds a cat in his lap.
This film combines elements of comic book fantasy with horror to create an enjoyable brew - sort of a film noir version of The Exorcist, crossbred with the stylization of The Matrix.
While decidedly no one's idea of the John Constantine of the comics (who was originally modelled on Sting), Reeves acquits himself well enough.
| Original Score: 4/5
Reeves, meanwhile, has confidently entered his self-parodic period.
While lacking the richness of its source material, it remains an enjoyable, immoral and sometimes beautifully Gothic tale.
Constantine does generate some mid-level amusement and F/X interest in the epic battle it's based on, but has very little to show for it once the final credits role.
| Original Score: 5/5
By every standard of good filmmaking, Constantine is a mess. Yet I did not find it one of those so-bad-it's-good affairs. I honestly enjoyed it.
| Original Score: 7/10
Reeves has created a unique character that has the potential for future installments.
Despite all the bad acting jokes made at poor Reeves' expense, his slightly wooden, straightforward delivery has a powerful charm backing it.
Let's drop the bias and negativity and cut to the chase here: Reeves is good in this role.
| Original Score: B
Constantine isn't a good movie. But it's reasonably fun, and its silliness is its saving grace.
Groovy, sexy, well-crafted adaptation with just the right casting to make it fly when it could have sunk.
Lawrence directs with energy, humour and an amusing eye for bizarre details - such as the fact that Hell can be accessed via the judicious use of a cat and a puddle.
Sometimes dense and impenetrable, but it also contains an unusually thoughtful consideration of the difference between faith and belief.
| Original Score: 68/100
[A] stylish and moody thriller that actually sort of works, despite everything that seems poised to go wrong with it.