Constantine. It's a great movie.

In the Film Quarterly roundtable discussion of Showgirls, author Linda Williams cites J. Hoberman’s essay “Bad Movies” which mentions how bad movies can be good.  That is, movies can be so bad, that they’re good.  Hoberman’s judgments of what makes a movie bad go against what most critics use to judge a movie.  “Poor acting and ludicrous dialogue do not in themselves make an objectively bad movie.  Neither does an absurd plot.  In fact, to be objectively bad, a film must relentlessly draw one’s attention away from its absurd plot.” (American Movie Critics, Hoberman, 520)  




The cinematography is awesome and higher quality than other films that are considered “better” than it.  The use of color and composition within the frame in every shot is calculated and deliberate, and the lighting and tone of the film are consistent, yet the shot selection is varied and highly creative.  There is no settling for simple camera movements.  Every shot seems to have a lot of thought and artistry behind it.  The depictions of hell throughout the movie are incredible, more realistic and terrifying than any other movie in recent memory.

Look at that facial expression

There has been a long running joke about Keanu’s acting ability and his serious and monotone delivery.  Much has also been said about him being typecast into one role: the serious, humorless, and dull character (Speed, The Matrix, Hardball), but that argument is invalid in every way.  Somebody has to play that role, and by golly does he play it the best.  His character in the film, John Constantine, is an exorcist/demonologist, who deports demons and “half breeds” (half human, half demon) back to hell, essentially ridding the world of evil forces.  This is the perfect role for him, since being a demonologist requires a stern and rigid character, and no other actor has this persona naturally like Keanu.  I’m a little confused how Keanu has been deemed a “bad” actor, when he fits his roles perfectly and plays them to a tee.

The stare

The stare

The stare