A fresh update on the Pocahontas legend. Captain John Smith (Colin Farrell) arrives in disgrace on the shores of the New World but he is pardoned and soon rises to lead the English settlers of what will eventually be Jamestown Virginia. Sent to trade with a local chief Powhatan he falls in love with his daughter Pocahontas (Q'Orianka Kilcher). He follows his duty rather than his heart and returns to Jamestown whose starving citizens would not have survived the harsh winter without Pocahontas’s help. Powhatan (Wes Studi) mounts an attack to force the settlers to leave but Pocahontas warns Smith leading to her banishment and her new life with the Europeans. Eventually Smith is called away to mount his own expeditions leaving Pocahontas behind with a heavy heart. She finds a new suitor a gentleman farmer who wants to marry her but she still pines for Smith. Her fame spreads far beyond the New World back to England where she is summoned to meet the king and queen. Farrell is finally delivering on his early promise momentarily setting aside noisy action films to work with a world-class director and reminding us just how subtle of an actor he can be. The amazing chemistry between Farrell and newcomer Kilcher puts nearly every other movie pairing this year to shame. Kilcher who had one screen credit to her name before this was only 14 during filming quite close to Pocahontas’ believed age of 12 or 13. Before you reach for that picket sign please note that while the romance is incredibly sensual as is the whole film nothing is shown other than longing looks and playful platonic embraces. As Pocahontas Kilcher radiates beauty and innocence and it’s easy to see why John Smith would be mesmerized by her. After Smith has left her scenes of grief are heartfelt and her later solemnity is remarkable for someone so young. I had no idea of her real age until I looked over the production notes. Christian Bale who only shows up in the last third of the film is wonderfully restrained and melancholy as the widower who woos her after her own loss. Terrence Malick has always been a very sensual director one who can capture nature so well that you feel you are in the film not just watching it. But his previous films such as The Thin Red Line often have a way of losing focus of missing the forest for the trees of throwing out the plot for yet another beautiful but pointless shot of the landscape. Here his narrative is strong enough that we aren’t impatient when the camera lingers on lush forests or a lovers’ embrace. He’s made the love triangle the backbone of the film and you don’t miss the larger picture here at all. The film is not only achingly beautiful but deeply felt. His sympathies are clearly with the “naturals ” as the Europeans call the Native Americans; it’s from their perspective that we first see the tall ships arrive. The Englishmen part from Smith for the most part are dirty cruel and petty and the less time the film spends with them the better. What Malick has made is most definitely still an art film with occasionally abstract or non-linear editing choices but one that is never just art for art’s sake.
Heaven. Hell. Us humans in the middle. It's all very complicated. But John Constantine (Keanu Reeves) seems to have a handle on it. Born with a gift he says no human should ever have he has the ability to see what he calls "half-breeds"--angels and demons that walk the earth in human skin (and apparently there are a lot of them). Of course the horror of it is too much to bear and Constantine tries to take his own life. But he fails. Now having been to hell and back again quite literally Constantine is marked as an attempted suicide with a temporary lease on life. He patrols the earthly border between heaven and hell acting as an exorcist of sorts. Of course the guy isn't doing it because he feels empathy for the human race or anything. It's for purely selfish reasons. He hopes that if he sends the devil's foot soldiers back to the depths he'll gain some kind of redemption a free get-out-of-jail card so to speak. Constantine's attitude changes however when a skeptical police detective Angela (Rachel Weisz) enlists his help in solving the mysterious death of her beloved twin sister. They end up uncovering a twisted master plan brewing between the demons and angels which could bring about a catastrophic series of otherworldly events. Perfect.
John Constantine is a little like The Matrix's Neo--an ultra-cool but tormented man of little words with a sardonic fatalistic outlook on life who kicks a myriad of nasty-looking demons (instead of a myriad of nasty-looking machines) back from whence they came. Yes Reeves has done this before but that's because he's good at it. You can't blame him for sticking with something that works. Weisz also holds her own as the devoutly religious Angela who nonetheless has a hard time believing there are actual angels and demons running around among us. That is of course until she spends about 10 minutes with Constantine and sees just how real they are. As far as the rest of the humans in the film Shia LaBeouf (Holes) does a nice comical turn as Constantine's sidekick and protégé while Djimon Hounsou (In America) works his voodoo mojo as a witch doctor who has a long-standing if strained relationship with Constantine. The not-so-human counterparts are equally intriguing. Peter Stormare (Fargo) delivers a somewhat over-the-top but devilishly eccentric performance as Satan. Tilda Swinton (The Deep End) dons the wings of the arch-angel Gabriel to whom Constantine is always asking for a reprieve but who has got her own agenda.
Based on the DC Comics/Vertigo comic-book Hellblazer Constantine is demonic eye candy. Obviously inspired by the many music videos he's helmed in the past director Francis Lawrence making his feature film debut paints a pretty dark and moody world with shadowy wet rat-infested (or cockroach-infested) corners that hide the horrific demon half-breeds as well as all other kinds of terrible baddies. Then when we get into Hades itself where the demons and seplavites--a sub-genre of the damned who are sightless mindless soul eaters--prowl it's an apocalyptic landscape. Lovely place. Unfortunately the script isn't nearly as stimulating. It must be an arduous task adapting a series of comic books so to his credit screenwriter Kevin Brodbin does do a nice job introducing us to Constantine and his world. But Brodbin seems to have incorporated too much. As the action escalates more and more plot points and characters are thrown in complicating matters. By the time the long-winded climax is over you're exhausted.