Constantine (2005)

The critic finds Constantine an enjoyable, wry pleasure despite flaws in its script and supporting characters. They praise its eerie, stylishly Gothic world and inventive details.

The accessible page identifies this as a review, but its text is behind a registration wall. The critic’s verdict and any specific praise or complaint are not visible.

The page appears to be a review of the 2005 film, but its verdict cannot be determined from the accessible text. No specific praise or complaint is available to report.

Ebert finds the film visually stylish but lacking in substance. He singles out its striking visual style, while faulting the film for having little point.

Felperin finds the adaptation diluted but visually arresting. The striking visuals stand out, while the supernatural exposition and relic subplot are criticized as silly.

Schager finds the film’s religious ideas and story unoriginal, with Keanu Reeves’s performance too vacant to make the protagonist convincing. He praises Francis Lawrence’s skill at creating an atmosphere of otherworldly unease.

French finds the film obscure and ludicrous, though not entirely unenjoyable. He singles out its expensive special effects as the punchline to its moral lesson.

The review is dismissive of the film. It singles out Keanu Reeves’s wooden portrayal as a central weakness.

Lowry finds the film stylish but ultimately weak, with a confusing narrative and little substance. He praises its powerful imagery, especially its depiction of hell and Tilda Swinton’s angel Gabriel.

Denby condemns Constantine as a tawdry, exploitative spectacle. He singles out its use of Catholic doctrine and imagery as schlock.

The critic finds the film enjoyable and engaging despite a couple of irritating, clichéd elements. They praise the special effects and the chemistry between Keanu Reeves and Rachel Weisz.

The review finds the film overloaded with clumsy gloom and ultimately too dingy to leave a bleak impression. It praises Rachel Weisz’s multilayered performance and Tilda Swinton’s morally ambiguous Gabriel.