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Posts tagged “anti-hero

Punisher: War Zone (2008)

Punisher War ZonePoor Frank Castle.  He can’t get a film franchise started to save his life.  It’s just reboot after reboot.  However, out of the three that have been made, I believe this is the one that gets the most right in the right places.  I did see this theatrically, twice in fact, and I was really blown away by it.  Regardless, it did poorly at the box office due to a lackluster marketing campaign by Lionsgate and an untimely December release date.  Conversely, this was the same year that gave us Iron Man, The Incredible Hulk, and The Dark Knight.  So, there was high caliber benchmarks set in 2008, and I would say that Punisher: War Zone did not disappoint, in most part.  To me, Ray Stevenson is the best Frank Castle to date, but there are some glaring problems with the villain of Jigsaw that impact the quality of the overall movie.

Ex-Special Forces officer Frank Castle (Ray Stevenson) wages a one-man war on two fronts.  While targeting the vicious mob boss, Billy Russoti (Dominic West), Castle horribly disfigures the gangster in a firefight that also claims the life of undercover FBI Agent Nicky Donatelli.  Seeking terrible vengeance, Russoti takes the name “Jigsaw” and begins recruiting the underworld’s most notorious criminals while Agent Paul Budiansky (Colin Salmon) joins with the sole member of the NYPD’s Punisher Task Force, Detective Martin Soap (Dash Mihok), in order to avenge his partner’s murder.  However, Frank’s lethal mistake weighs on his conscience, and he is nearly ready to pack it in until he realizes the danger Angela Donatelli (Julie Benz) and her daughter are in.  Now, The Punisher must find a way to elude the law and decimate a deadly crime army before more innocent lives are tragically ended.

First off, I really like that the filmmakers didn’t make this film another retread of the Punisher’s origin story.  They instead chose for the Punisher to have already been operating for five years at the time of this story.  Although, they surely weren’t going to gloss over that origin considering this was another reboot.  We get tragic flashbacks to the aftermath of the Castle family’s slaying, and the story is briefly, yet poignantly told by Detective Soap to Agent Budiansky.  We get the details on what happened, and even more impactful is noting the Punisher’s track record and body count.  The entire basement of the police station is filled with files on every case, every murder involving the Punisher.  There are literally thousands of them.  This was a brilliant direction to go in to join Frank further down the road, and allow some perspective and reflection to enter into the equation of his character.  This is no longer a man in the heat of his passionate revenge.  This is a grim, weathered individual who is driven by his disdain for injustice, and has buried his soul deep down underneath all that pain and grief.  That’s a fascinating route to go, and it works directly and purposefully into the story.

Fan reaction was that this film was very faithful to the Punisher MAX and Marvel Knights comic series with its gritty, yet over-the-top violence and vibrant color scheme.  While I cannot comment on the accuracy of that sentiment, what I can say is that this is really what I’ve always felt a Punisher film should be.  It is unrelentingly brutal with a generous helping of blood, gore, and violence, but with proper depth to its characters.  The action sequences are slam bang amazing, even if they can tend to defy the laws of physics, at times.  However, Punisher: War Zone is clearly geared towards a very comic book style, just based on the gorgeous cinematography.  It is so vibrant, moody, gritty, and saturated with all the right colors that it often looks like it came straight off the pages of a comic book, and the action is indeed jacked up with that mentality.  Just in the opening sequence, we’ve got a good dozen mobsters getting shot, slashed, and just laid to waste in graphic fashion.  It sets an awesome, aggressive, relentless vibe for the whole movie which never disappoints or eases up.  It puts you in the world of Frank Castle, and delves you right into his bleak, graphic state of mind.  This is an action film that pulls no punches, and goes straight for the hard R rating all the way.

I also love how Castle moves and operates in the action scenes.  It’s all very militaristic, but exceptionally nasty.  No mercy, no prisoners – everyone dies.  While the previous Punisher films had plenty of action and unique use of weaponry, this film employs tactics and strategy that feel very authentic.  This is even more appropriate since this Frank Castle is actually revealed to have been a Marine.  Dolph Lundgren’s was a former police officer, and Thomas Jane’s was a federal agent.  I don’t know why it took a group of filmmakers so long to actually get Castle’s background correct, aside from the Vietnam aspect, but thankfully, it is well realized here in very subtle and clear details.  It is very much ingrained in Frank’s mentalities and disciplines.  Even his body armor reflects a man of vast wartime experience as it covers his torso up over his neck, and appears to be very heavy duty.  Frank looks like a man waging a war as he’s always prepared with another weapon at hand, and has precise, razor sharp reflexes.  This is a guy you’re going to have to massacre in order to stop, and he is not going to make that the least bit easy to do.  I love the moment early on when he uses a pencil to reset his broken nose.  That’s hardcore right there.  Frank himself is immensely intimidating just by the sight of him.  The slicked back black hair, beard stubble, and the obvious wear and age on Ray Stevenson’s face create a grim visage that says more than words ever could.  And the signature white skull on the body armor is the final glorious touch to put the fear of death into any criminal.

Of course, I stand very firm in that Ray Stevenson was a brilliant casting choice for this character.  I know Lundgren’s version had some sense of self-reflection, but I’m not familiar enough with Jane’s Punisher to know what he brought to it, depth wise.  I just know that the film he starred in is one I cannot sit through.  Here, Stevenson gives us every dimensional quality that could exist for Frank Castle.  Yes, he is a hardcore bad ass that is unwaveringly lethal.  Unlike most superheroes, The Punisher has no lines he won’t cross.  If you’re a criminal, you will be punished.  There is no gray area.  It doesn’t matter if the cops are right there to arrest the criminal, he exacts his own brand of justice every time.  The level of violence and carnage is absolutely appropriate for The Punisher.  It is necessary to have in order to understand the emotional and psychological mindset of Frank Castle.  The graphic violence he dishes out is the same which claimed the lives of his family.  It explains why he is such a grim figure, what the definition of a vigilante truly is, why the cops and criminals fear him, and why neither want him on the streets.  He is a man alone, and no one can truly understand him without seeing and feeling what it is he has gone through.  Still, you see that he does feel things, and that he has a morality and a soul.  Frank’s been emotionally shattered by the violent murder of his family, and that has resulted in a grim man with a lot of deep seeded pain, torment, and disdain.  Ray Stevenson brings those powerful, realistic qualities to the surface, and it creates the real solid core of this film.  The action, violence, and brutality are givens for a Punisher film, but it’s that serious depth of character which sets this film apart from its predecessors.  You see the fractured remnants of the caring family man Frank once was, and it really penetrates for me.  The story aspect of Frank accidentally killing an undercover cop instigates that deep exploration of his soul and heart, and creates an emotionally moving arc by the end with Julie Benz’s Angela Donatelli.  Stevenson is absolutely everything that you’d want from your Frank Castle thespian.  He handles the role with serious weight giving it credibility and humanity.  It is the most three dimensional Punisher I have yet to be exposed to, and shows that the character is more than just a vigilante with a bad attitude.  He has depth to spare, when put into the right creative hands.

Julie Benz is truly excellent as the grieving widow as she is not a wholly trembling mess.  Angela is a cop’s wife, and has strength and conviction within her to survive through all she endures.  There is a deep well of pain and emotion that pulsates through her performance.  While she is strong, she is vulnerable nonetheless, and it’s a great mixture she puts together that can really be felt by an audience.  I know Benz from her work as Darla on Buffy the Vampire Slayer & Angel, and so, her range of talent is not a surprise to me but is a great pleasure to witness.  She shares some substantive scenes with Stevenson, and they both work beautifully together.  The same goes for Stephanie Janusauskas who endearingly portrays the young and innocent Grace Donatelli.  Stevenson’s scenes with her bring out Frank’s adoration he had for his own daughter, and is the most tender insights into Frank.  Stephanie is wholly sweet showcasing some genuine talent that really forges an audience’s empathy for Grace.

Now, this film is easily divided up into two separate sections of quality.  Everything that does not involve Jigsaw is tremendously bad ass and awesome.  Unfortunately, almost everything that does involve Jigsaw is really ridiculous and silly.  Now, Dominic West did a superb job with Billy Russoti.  He was charismatic, threatening, a little intimidating, and a perfect fit for an Italian Mafioso.  He had all the elements just right for this slick, underhanded villain.  If he had remained as this character throughout the film, I think the tone would have been much more consistent and balanced.  However, after he’s disfigured at the hands of the Punisher, that’s when we’re subjected to a very comical villain that poorly contrasts with the dark, heavy, serious tone of the film.  Jigsaw becomes almost cartoonish in his behavior, attitude, and look through most of his screentime.  He’s clearly overacting through those facial prosthetics, and it’s nothing but detrimental.  There are better moments here and there, but in general, it’s the one major element that brings the film down for me.  It’s not even like a Jack Nicholson Joker where he’s at least morbidly comical in his homicidal tendencies.  Jigsaw is very much plucked out of a twisted cartoon concept where it’s difficult to take him seriously after a while.  His criminal recruitment montage sequence is almost enough to force a face palm reaction.  It’s not a purely bad performance, but there’s far more bad than there is good from Dominic West once he adopts the Jigsaw persona.

There is one semi-saving grace amongst the villains, and that’s Doug Hutchison as Looney Bin Jim.  It’s a character strictly created for the movie, but his psychotic qualities really do help boost the threat level.  He’s immensely agile and brutal, and thus, is able to take the fight right to Frank Castle near the film’s climax.  In the least, the character gave Jigsaw someone to bounce off of, someone who feels like a trusted and capable right hand man, and that’s commendable for the filmmakers to have done.  Hutchison is surely over-the-top in his own right, but for the character, it does work immensely better than for Jigsaw.  It would have worked better had Jigsaw been a much more serious character and threat to create that contrast of Jim appearing far crazier.

The remainder of the cast is solid starting with Wayne Knight as Frank’s arsenal securing friend Micro.  Knight does a fine job keeping the character enjoyable, but still dramatically poignant and sympathetic.  He and Stevenson work very well together creating an honest, open relationship between Micro and Frank that feels genuine.  Dash Mihok also does an exemplary job as the enthusiastic, innocent minded Detective Martin Soap.  I liked the twist with the character about midway through the film.  It’s very comical but terribly appropriate as it makes a fun kind of sense, and makes Soap appear more capable than he tends to appear.  I really enjoyed the character, and Mihok made him endearing.  On the more bad ass side, Colin Salmon is excellent as Agent Paul Budiansky.  He’s a very take charge type of guy who doesn’t shy away from danger, and is deadest determined to haul in the Punisher no matter what.    Salmon brings a lot of heart to the role, and the script gives him depth to work with as he owes Nicky Donatelli his life and career after Budiansky got hooked on narcotics.  There’s a debt to repay, and he’s not going to take a backseat to anyone.  Budiansky throws down with Frank, and with a guy of Salmon’s size at 6’4”, he absolutely looks like a guy who could hold his own against real bad dudes.  Overall, this is a film with some mostly solid and dimensional performances that not enough comic book films strive for, but should.  It’s easy for a lesser grade screenwriter or filmmaker to gloss over character depth in favor of spectacle or action, but that’s exactly when they’ve already failed.  This film succeeds, and in many different ways.

I mentioned the cinematography a bit already, but I’d like to elaborate on it.  While the film does have a very vibrant color palette, it is soaked in dark, shadowy environments.  It has plenty of moodiness and atmosphere to spare.  Even the daytime scenes are a little washed out to enhance that bleakness.  The richest visual feast occurs in the church scene where Frank meets with Budiansky before the climax.  This location is filled with brilliant colors, but has the added beauty of numerous lit candles.  The scene has some exquisite depth of field and artistry to it that, while it fits solidly with the rest of the picture, gives this scene a special aura all its own.  The action cinematography is excellent.  There is absolutely zero shaky cam quick cut editing.  The camera work is wholly competent going regularly for fluidity instead of chaotic motion.  That shows there were some smart filmmakers behind this.  They were able to give this film a unique style that is very comic book in nature while never becoming cliché or showy.  It’s clever, sharp, and beautiful all around.  Cinematographer Steve Gainer deserves a load of credit for making this film look so stunning, and director Lexi Alexander deserves credit for pushing for many of the stylistic composition choices.  It all works to amazing effect.

And while this movie was shot in Québec, Canada, the filmmakers had enough perspective on the material to seamlessly integrate some excellent stock footage of New York.  My favorite bit of this is when Frank’s standing on the rooftop and the Chrysler Building is over his shoulder in the distance.  It was surely some sort of green screen shot, but when I saw this theatrically, I couldn’t tell that this movie wasn’t shot on location in Manhattan, New York.  So far, this is the only Punisher film to actually have the film blatantly set in New York, and actually go to the extra effort to sell that illusion.  That is something I cannot commend them enough.  Nearly every Marvel superhero is based out of New York, but if there’s any one character from Marvel Comics that is a tonally perfect fit for the urban grit of New York, it is the Punisher.

Now, the music of the film is a bit divided for me.  While I am a big heavy metal fan, I admit that it rarely has an appropriate place in a film.  Most times, like in this film, it tends to be intrusive and a bit overblown.  Maybe if these were songs from bands I actually liked, perhaps I’d be more welcoming of them.  However, there is some great score performed by Michael Wandmacher.  It brings out the dark, dangerous tone of the film, but also, highlights and enhances the moments of emotional depth and turmoil.  It’s a very well rounded piece of work that perfectly complements this stellar film.

Aside from the comical elements of Jigsaw, I think Punisher: War Zone has a very solidly put together story and script.  Every Punisher film that ever has and ever will be made is always going to have Frank unleashing an all-out assault on organized crime, but it’s what’s beyond that which makes such a film standout.  Beyond the action and violence, this has some very strong emotional plot threads and character arcs.  There are elements of guilt, grief, forgiveness, responsibility, revenge, and trust running through Frank, Angela, and Budiansky.  These arcs are handled exceptionally well, and really flesh these characters out in a great way.  Even Soap and Micro have their say in Frank’s struggle with his murder of Agent Donatelli.  These aspects are treated with great care and are executed wonderfully.  It’s also great seeing everyone’s different viewpoint on the Punisher.  Some see him as a menace to be thwarted and condemned.  Others consider what he does a service.  The NYPD put together the “Punisher Task Force” as merely a public image joke as they mostly couldn’t care less about what trash the Punisher executes on the streets.  This is evident by the fact that Detective Soap is the sole member of the task force, and the NYPD dumps Budiansky there just to brush him aside.  How all these elements and characters converge and end up relying on the Punisher is smartly done, and really develop organically from the plotlines and character motivations.

The entire climax is just a magnificent onslaught.  It’s the Punisher set loose massacring probably half the street criminals in New York, working his way through the Bradstreet Hotel to rescue Angela and Grace from Jigsaw’s clutches.  The stunts are spectacular, and the sound design of all the different styles of gunfire and explosions as well as the crunching of bones and the splat of blood is just absolutely brutal.  This is hardcore action all the way through.  It is as unforgiving and merciless as the Punisher himself.  Still, this climax has some emotional turmoil for Frank, but I won’t spoil a thing for you.  Simply said, it has resonance and weight to it that add to the dramatic realism that the film is so rich with.

All in all, this is definitely the Punisher movie that strived to do the most with its characters and concepts, and it succeed in nearly every regard.  I do love the movie very much, but the fact that Jigsaw is a ridiculously comical villain you can almost never take seriously does negatively impact the film.  It doesn’t kill Punisher: War Zone, however, because everything outside of Jigsaw is so amazingly good that it’s near impossible to topple it with one bad performance.  Ray Stevenson is hugely blockbuster in his portrayal of Frank Castle.  He brings so much depth and pure bad assery that it would be a steep mountain to climb to top or rival him.  He makes the Punisher a character that could thrive on the big screen, and that is also largely due to director Lexi Alexander.  She showed a massive wealth of talent here as well as the ability for a vibrant, hard-hitting, and compelling vision.  So many action films today come off as lackluster carbon copies of the last big theatrical hit that it’s invigorating to see someone inject some fresh style and depth into the genre.  We’ve been treated to many great comic book movies over the last several years, and so, the standards have gotten pretty high.  In my mind, I truly believe that Punisher: War Zone just about reaches that standard.  The only major element that a Punisher movie needs at this point is a rock solid villain that’s worthy of squaring off against the Punisher.  So far, I don’t feel we’ve gotten that, and it is the only real failing of this movie.  For my parting words, let me just say that the last moments of the film are just flat out bad ass!  The very final shot is perfectly iconic and foreboding.  Ray Stevenson is my quintessential Punisher, and there is just not enough I can say about his detailed and awesome performance to do it justice.  Punisher: War Zone gets a damn strong recommendation from me.


Constantine (2005)

I very much love this film, and count it as an all time favorite.  I saw it twice in the theatre in 2005 because I was very much enthralled by the concept of the film and the excellent execution of all its characters and ideas.  It has since remained a strong favorite of the genre for me, and has driven my fandom of John Constantine further.  I was not knowledgeable about him before seeing this adaptation, but in the years since then, I have become a fan.  In the Hellblazer comics from DC / Vertigo, he was a blonde Englishman created by the widely revered Alan Moore and visually based off of Sting, the front man for The Police.  Obviously, that does not fit the description of Keanu Reeves, who portrays the title character as a dark haired American in Los Angeles, and there are numerous other changes here that deviate from the source material.  That inevitably irritated numerous hardcore Hellblazer fans, but since this was my introduction to him, I can allow both versions to co-exist in my fandom.   There are many reasons why I highly love this film including its gorgeous visual style, the world it showcases, and the potential of the characters.

It is said that whoever possesses the Spear of Destiny holds the fate of the world in their hands, and the Spear of Destiny has just been found and put into the hands of evil influences.  In Los Angeles, exorcist and occult detective John Constantine (Keanu Reeves) begins to see foreboding signs of something big and unfriendly coming with demons forcing their way into our world, but at the same time, the anti-social chain smoker is diagnosed with lung cancer.  It’s not so much the diagnosis that troubles him as the knowledge of where he’s going.  John was born with a gift he didn’t want, the ability to clearly recognize the half-breed angels and demons that walk the earth in human skin, and Constantine was driven to take his own life to escape the tormenting clarity of his vision, but he failed.  Now, marked as an attempted suicide with a temporary lease on life, the bitter hard-drinking, hard-living Constantine seeks a reprieve from his Hellbound fate.  He patrols the earthly border between heaven and hell, hoping in vain to earn his way to salvation by sending the devil’s foot soldiers back to the depths.  Unfortunately, he gains no absolution from the half-breed angel Gabriel (Tilda Swinton), and no consolation from strenuous allies such as the ominous former witch doctor Papa Midnite (Djimon Hounsou).  They all adhere to “The Balance” which keeps half-breeds from directly interfering in human affairs in order to settle a wager between God and the Devil for the souls of all mankind.  When desperate but skeptical LAPD Detective Angela Dodson (Rachel Weisz) enlists his help in solving the mysterious death of her beloved psychic twin sister, their investigation pushes them deep into a subversive plot to use the Spear of Destiny to bring forth an evil that threatens to destroy humanity.  Caught in a catastrophic series of otherworldly events, the two become inextricably involved, and seek to find their own peace at whatever cost.

Director Francis Lawrence came from a music video background, and that can be hit or miss when moving to feature films.  However, Lawrence’s background was clearly a benefit as he injects a very powerful and epic visual style into this film.  Director of Photography Philippe Rousselot realizes that immersive vision brilliantly.  His composition is rock solid creating very engaging visuals that pull an audience into the story and characters.  There is depth to spare in his frames, and plenty of grace and integrity in how he shoots everything.  There’s never any handheld camera work.  It’s all fluid movement that contributes to the overall enveloping otherworldly tone of the picture.  The use of color temperatures is very key to the atmosphere as it accentuates the dramatic tones throughout with a vibrant palette.  This is a gracefully shot film with great attention to creating a unique atmosphere and tone in its visuals.

The overall quality of the visual effects are stunning.  They are exceptionally consistent and of an amazing high quality.  From subtle effects like the fiery glint in the eyes of demons to the enveloping landscape of the Hell version of Los Angeles, they create a complete, rich, textured, and full world for John Constantine to exist within that is truly convincing.  The fearsome demonic creatures seen throughout are designed with consistency and originality.  This feels like a world with its own weathered history, and attention is paid to every detail to present it as such.  The entire “into the light” effect in the climax is awesome as the shadows are literally pulled away to force the evil presence into view.  There is never just one effect used over and over again as a crutch.  The film is full of vibrant effects that give the film its fantastical flare.  Overall, every effect is just executed and presented with amazing artistry complementing Francis Lawrence’s vision beautifully.

I also very highly enjoy the score to Constantine.  It has a great atmospheric, haunting electronic style that further fleshes out the otherworldly quality of the film, but still incorporates plenty of traditional score elements that punctuate the rousing, dramatic sequences as well as the softer, more intimate emotions of the film.  Composers Klaus Badelt & Brian Tyler put together one hell of a unique musical accomplishment with this.  I’ve never heard a score quite like this before, and it works so amazingly well.  There is a great use of melody all throughout which enhances the emotional depth that this film is truly rich with.  This is definitely a film that takes a different approach to things to give an audience a very distinctive identity for an all encompassing experience.  The addition of the song “Passive” from A Perfect Circle is wicked cool in my opinion.  It truly set a great tone entering into Papa Midnite’s club.

These enveloping elements wrap together to create a very rich story with a tone full of integrity and gravity.  It can be a very haunting and scary film that uses horror elements at times, but is best categorized as a supernatural dark fantasy action film.  The action in the film are not big set pieces with spectacular stunts.  John’s not some bad ass action hero who can slug it out with a demon.  Instead, he uses his occult and demonic knowledge as well as his skills as a con artist to help him win battles.  He fights smart using the tools he has acquired which exploit the weaknesses of his enemies such as holy water, Moses’ shroud, a pair of Holy Cross brass knuckles, dragon’s breath, and various eclectic items provided to him by his allies.

This story is partially inspired by the Dangerous Habits comics storyline, which I have read.  There’s little directly adapted from that story, and is more just taking the premise of Constantine being diagnosed with lung cancer and having to cope with that.  How he deals with it and the resolutions of the comic and the film are very different, but both greatly show off John’s cunning skill as a con artist to varying degrees.

Constantine himself is very fascinating, and I think this version of him is well portrayed by Keanu Reeves.  I am quite a big fan of his work ranking Point Break as one of my absolute favorite films ever.  I find his work quite enjoyable, and he has some highly impressive acting ability.  I think his approach tends to be more subtle, and with Constantine, he really drives home a very diverse character.  Reeves showcases Constantine’s jaded personality with depth and purpose.  He brings out that worn down, weathered texture that makes the character so intriguing and surprising.  He can be an outright asshole because he’s been both plagued by the knowledge he has about the world around him, and that he’s destined to spend eternity in Hell, regardless of what he does.  He’s tired and frustrated by these rules that these so-called “higher beings” have imposed upon humanity for their own sport, and he knows there’s little he can do to combat that.  Keanu gives the character enough edge while still maintaining an underlying sense of humanity which evolves through the film.  As the story goes along, he becomes more and more invested in Angela as a person instead of just her being a cog in a larger plot.  You gradually see the bond form between the characters, and how that starts to drive John’s actions.  There’s a pivotal shift in there where he stops sulking in his own pain and starts seeing Angela’s.  He sees her regret and how far she’s willing to go to mend it.  John can still be an asshole, but ultimately, it’s just to those that deserve it.  Reeves portrays these subtle and strong emotional beats powerfully showing that there’s more to Constantine beyond that spiteful, embittered exterior.

Another subtle part of John that’s retained from the comics is how his friends constantly pay the price for his battles.  In the comics, John is haunted by the ghosts of his dead friends, and the screenwriters slipped a brief line in here about John not needing another ghost following him around.  So, it’s no wonder that he’s as cynical and jaded as he is, but it’s also these circumstances which drive him to fight.  He challenges everyone on their egotistical or hypocritical behavior, and allows no one to slide.

However, the arc for the character takes him from being a self-serving person who fights evil for his own sake to someone that does the right thing for the sake of others.  It takes nothing away from the hardened core of the character, it just makes him an actual hero by the end.  That is helped immensely by Rachel Weisz’s emotionally impactful performance.  Reeves and Weisz had previously worked together on the 1996 film Chain Reaction as love interests, and perhaps that added a stronger chemistry between them.  In this film, their chemistry is exceptionally solid and tight.  They have great back-and-forth dialogue with sharp timing and rich character dynamics.  Angela is also easily able to stand up to John’s abrasive attitude which is a welcomed quality.  Weisz strongly portrays the more emotionally and psychologically vulnerable counter-balance of the story.  This allows an audience to have a relatable conduit into the character of John Constantine and his supernatural world.  Rachel Weisz is an incredible actress showcasing a wide range of abilities here.  She is remarkably powerful bringing out the emotional pain that Angela has deep within.  However, while Angela is vulnerable, she is a police detective, and thus, Weisz never makes her appear helpless or incapable of defending herself.  She has a definite strong will and confidence about her mixed in with a grounded, engaging charm.  It’s simply that the character been impacted by tragic events, and is thrust into a potentially frightening scenario which brings out those fearful or unstable elements in her.  Weisz handles it all with dramatic weight and grace.

It is also immensely impressive how strong the supporting cast is in Constantine.  Djimon Hounsou has such an awesome presence as the witch doctor turned night club owner Papa Midnite.  His deep voice and subtle charisma give weight and gravity to his performance.  He can be greatly imposing and intimidating without even standing up in his initial scene.  Hounsou and Reeves spark a fascinating chemistry.  They play the characters with a sense of shared history which has its turbulent areas which causes friction and some antagonism between them.  The screenwriters had a good philosophy of the best way to convey exposition about a character is to show them working.  You get to know more about Midnite and Constantine through what they do and how they go about doing it than can really be conveyed through straight dialogue interactions.  This is showcased beautifully in the sequence with “The Chair” which allows John to see the path the Spear of Destiny has taken recently, and to find out where Angela has been taken.  It’s a manner of operating alluding to information that is necessary for them to know to do what they need to do, but is not necessary to be spelled out for the audience.  This further reflects the sense that this a world with a long, textured history between characters, and it is presented in a very smart way that never bogs down the film with extraneous exposition.  Midnite himself has a very pleasing arc in the story that ultimately shows Hounsou’s range and charm.  He makes the character very fascinating, imposing, but ultimately, highly pleasing.

Tilda Swinton is immaculately graceful and elegant as the half-breed angel Gabriel.  The filmmakers chose to go with an androgynous quality for the character, and absolutely wanted Swinton for the role.  They chose incredibly well.  Her performance has a gentle compassion that eventually turns into a subtle megalomaniacal mindset.  She also has an ethereal aura and presence about her that is pitch perfect.  It’s a nice dynamic when Constantine goes to see her with him ranting and calling out the hypocrisy at hand, but she offers up a very warm, motherly tone with him.  They are both trying to make each other see things from their perspective, and neither is entirely in the right.  There is a very aristocratic, snobbish mentality from Gabriel that John can’t stomach, and it works so exceptionally well for this character.  It’s such a remarkable performance that the words to describe it in depth escape me.

Now, this film was before Shia LeBouf started grating on peoples’ nerves, but here, there’s enough heart and charm with him as Chas to make his performance a pleasure.  Chas is spirited and driven to be given the chance to be of real assistance to Constantine instead of just his personal cab driver, but John just knows the danger of allowing him to do so.  Yet, Chas is eventually given the chance to show his worth.  As with everyone else, the chemistry is dead on the mark perfect.  Gavin Rossdale’s turn as the demon Balthazar is oozing with charisma.  He relishes being engulfed in evil, and that delicious smarmy arrogance just pours out over the screen.  The tension and spite between him and John is thick as can be.  You can’t help but love and hate him all at the same time.  All of the actors throughout the film really inhabited their characters with exceptional commitment and nuance, and came together as a cohesive whole to deliver something diverse and marvelous.

Of course, there is Peter Stormare’s magnificent performance as Lucifer himself.  There have been so many portrayals of the Devil over the years in cinema from some massively talented actors, and each portrayal has been unique.  Stormare takes unique to a whole new level here.  The physicality alone is unsettling as if he’s trying to uncomfortably fit back into a human form like it’s an old out of shape body suit, and it results in some peculiar and tense nervous energy.  The look is striking enough without devolving into shock.  The shaved eyebrows and shorn haircut along with the tattoos really present a standout visual that separates Lucifer from everyone else in the film.  Stormare takes all of this to forge a weirdly eccentric Devil that doesn’t need to flaunt an ego or boast of his power.  His creepy, chilling presence sells everything.  The addition of the pure white suit and bare feet was a nice touch, and it really fits the visual aesthetics of the film.

While I have nothing against a well done origin, it is very commendable that this is not an origin story spending a large percentage of the film showing how Constantine became the man he is today.  His back story is not even revealed until well into the second act as we get to know it alongside Angela, and allusions to other shared histories are sprinkled throughout.  The film treats its audience as intelligent by not having to explain every little thing.  It presents a world, gradually lays out the general parameters of how it works, and then, allows it to envelop the audience.  I like this approach for the character because there is a lot of John Constantine history that is very relevant to the character, but it would be nigh impossible to hit all the poignant marks to develop him fully in a two hour film.  Starting a film series here is very interesting because it takes John from the jaded, weathered depths to someone more purposeful and formidable.  It is a greatly executed arc wrapped up in a strong plotline backed by some excellent talents in front of and behind the camera.

It seems hard to judge where this movie stands in terms of general consensus.  It’s not one of those comic book movies everyone talks about, or includes on the list of the best or worst adaptations.  I seem to perceive this as a film that had good commercial success, but tends to get overlooked for no apparent reason.  Professional critics were divided on it, but the thing with critics is that they get paid to go see movies they are not always pre-disposed to enjoy.  This was a movie that appealed to my tastes via its marketing, and it did blow me away.  Again, the hardcore fans of Hellblazer likely had their passionate gripes with all the changes made to the established elements of the property, but it’s not a bad film at all.  It’s exceptionally well made from a filmmaker with great vision and artistry, and features an amazing cast that put their all into it.  From an objective point of view, it’s a greatly entertaining and satisfying film.  It has plenty of interesting action, an excellently crafted world, fantastic, stunning visual effects, a unique and fascinating score, and is just generally well written all the way around.  I really love this film, and I love what I’ve read in the Hellblazer trade paperbacks.  Both offer me something different but equally satisfying to my tastes for supernatural horror and dark fantasy.  If you’re unfamiliar with the property, this film can ease you into the heavier subject matter and grittier feel of the comics, but they are two unmistakably different presentations on the characters and the world they inhabit.  Taking the film on its own merits, it’s a highly imaginative, excellent piece of work that is worth investing your time and interest in.