Constantine on blu-ray

In the grand scheme of theological thrillers, Constantine aspires for the greatness of The Exorcist but ranks more closely with The Order. Based on the popular Hellblazer comic book series, and directed with nary a shred of intelligence by music video veteran Francis Lawrence, it’s basically The Matrix with swarming demons instead of swarming machines. Keanu Reeves slightly modifies his Matrix persona as John Constantine, who roams the dark-spots of Los Angeles looking for good-evil, angel-devil half-breeds to ensure that “the balance” between God and Satan is properly maintained. An ancient artifact and the detective twin of a woman who committed evil-induced suicide (Rachel Weisz) factor into the plot, which is taken so seriously that you’ll want to stand up and cheer when Tilda Swinton swoops down as the cross-dressing angel Gabriel and turns this silliness into the camp-fest it really is. The digital effects are way cool (dig those hellspawn with the tops of their heads lopped off!), so if you don’t mind a juvenile lesson in pseudo-Catholic salvation, Constantine is just the movie for you!

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Street Kings on Blu-ray

Street Kings is a pungent bouquet of corruption, violence, multi-ethnic mayhem, macho glee laced with macho angst, and fluorescently obscene dialogue from the mind of James Ellroy. Its hero, though he’d scarcely consent to be called one, is L.A. police detective Tom Ludlow (Keanu Reeves), for whom life is a wound that won’t heal and dealing out retribution to scumbags is the ongoing treatment. Ludlow’s the star player–”the tip of the [expletive] spear”–on a team of detectives headed by Capt. Jack Wander (Forest Whitaker). Coach Wander relies on his boys to keep breaking lurid cases, usually through deeply darkside underground work, and raising his profile with the media and the department.

In pursuit of these goals, nothing is forbidden except failure, and the truth is what you make it look like. This is familiar Ellroy territory, most effectively translated to the screen in L.A. Confidential (which should have won the 1997 Oscar, and would have if Titanic hadn’t launched that year). If you know Ellroy’s ground game, you can pretty much guess where Street Kings is going, and where it’s been. Still, the twists and torques of its urban road-rage course maintain the centrifugal force needed to hold us in our seats (a tactical highlight: refrigerator adapted as rolling barricade), and the movie keeps bopping us with oddball casting coups: comic Jay Mohr and Northern Exposure/Sex and the City veteran John Corbett as two members of Coach Warden’s gonzo detective squad; Cedric the Entertainer doing a nicely nuanced turn as a street creature; Hugh Laurie doing a less-hyper version of House, if House worked Internal Affairs.

The problem is that director David Ayer keeps everything intense. Dialogues are shot too close-up, line readings are too strident, the action is too nonstop slam. Recall Curtis Hanson’s L.A. Confidential and the mind’s eye summons up a whole spectrum of existence, mood, place, historical period, emotional investment; there’s an amplitude to the picture and the sensibility bringing it to us, something besides the whodunit and the endless rap sheet of nasty what-they-done. Everything in Street Kings is one-note, and with Keanu Reeves playing it implosive and Forest Whitaker locked in crazier-than-an-outhouse-rat mode, that’s no way to stay the course.
By Richard T. Jameson

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Point Break on Blu-ray

An unbelievable movie, and deliriously better for it. Keanu Reeves is a hotshot law enforcement dude–Johnny Utah by name–investigating a series of bank robberies in L.A. Four gunmen, disguised in rubber masks of ex-U.S. presidents, have never come close to being caught, but veteran agent Gary Busey has a theory: The bandits are surfers. This prompts the superb line, “The ex-presidents rip off banks to finance the endless summer!” This movie’s full of dialogue like that, but instead of sounding ridiculous it creates its own infectious comic-book energy–ride the crest of it and you’ll find the film’s giddy zone.

Patrick Swayze plays Bodhi, zen-master leader of the surfing clan, humming serenely with the wisdom of the waves. (Alarmingly, Swayze also did his own skydiving stunts.) Director Kathryn Bigelow (Strange Days) stages the action sequences with a visceral snap, and clearly has a gift for orchestrating pulp fiction. Though not a huge hit when was first released, Point Break has a well-deserved cult reputation thanks to its video afterlife. The film’s executive producer is James Cameron, Bigelow’s husband at the time. 
By Robert Horton

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