The Constantine Sequel Will Follow Keanu Reeves

The Keanaissance has had a wide range of manifestations. Even looking back, Keanu Reeves’ career has been given fresh life by the affection of his fans, which has been expressed through their creative interpretations of the actor, wholesome stories about him, memes, and his participation in a variety of new and interesting projects. The 2005 film Constantine, which was widely panned when it came out but subsequently received a sequel nearly two decades later, has received retrospective accolades from Reeves’ career.

The Francis Lawrence-helmed supernatural action noir movie from 2005 was once regarded as one of the worst comic book adaptations ever made. To be completely honest, Constantine still doesn’t do a very good job of adapting its source material. However, Constantine is one of the best-produced films of the 2000s and quite likely the most aesthetically intriguing comic book movie ever made because of its originality and amazing visual narrative.

The essential strength of Constantine comes in the way it uses frames to surround characters and give them the impression that they are inside or outside the shot. To put it more accurately, there is a piece of the background scenery forming a frame around a character almost every time they are on-screen, which is practically every minute given the noir-inspired style of the movie. It might be the extremely evident street vehicle window framing in one scene. In another, it can be the side of a bookshelf and one of the doorframes. In any case, the frames help to convey a character’s isolation and sense of place in the world.

However, the frame serves other purposes as well. It enables characters to actually cross over into a symbolic place. In the case of Lucifer towards the conclusion of the movie, he is unfairly accused. The sole frame that surrounds his persona is a square above his head that he transcends, illustrating how he is a creature of three worlds who transcends the boundaries of his ordinary reality. Similar to this, when John enters hell, he breaks a framing mechanism by submerging his shoes in water, transcending both the frame and his realm of reality.This holds true for both physically crossing dimensions (or “worlds”) and metaphorically entering someone else’s reality, as Angela played by Rachel Weisz does when she formally enters John’s reality on the realm between angels and devils.

The framework is excellent, but the places where it fails are equally as wise. Hell in the film is framed in a claustrophobic and uneven manner, but it is depicted as a never-ending desolation and is based on the imagery of a nuclear bomb mid-explosion. The demons aren’t in the shot; just John is.In contrast to the rest of the movie, the frames in this section are ragged and jagged, frequently made of hazardous chemicals or aggressive foes. On the opposite end of the spectrum, there is only one unobstructed, unambiguous shot: John’s aborted ascent to heaven. On his left, a thunderhead appears, but it is not a frame. When looking at John’s eternal prize, he is unframed and unhindered for a brief period of time; he is free.

The underrated Constantine adaptation from 2005 has a lot of flaws and should be criticised in several areas. Even Rotten Tomatoes has now apologised for its poor score due to the ravenous nature of its demise and the post-hoc realisations of the moviegoing public on the significance of sticking to comic book source material. Since Jenna Coleman’s portrayal of Constantine on The Sandman received rave reviews, I think Constantine would have received a completely different reception if it had been released in the late 2010s or the 2020s. Regardless, Keanu Reeves and Francis Lawrence’s long-awaited return to the brilliantly imaginative universe of Constantine has given the Hellblazer fandom another opportunity to appreciate their movie for what it truly is.

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