1 Judging from the original comics, Constantine is a mysterious, unruly man with special skills. The TV series seems to pay more attention to how the hero pretends to be handsome and omnipotent. At this point, the evaluation of it will be greatly reduced. There are also many discrepancies in the plot and comics. And every time when the acting is a tense moment, the male protagonist can always take the heart out of the mind that he has just raised. There is rarely the feeling of success after all kinds of hardships. Throughout the first season, the development of the story is basically incoherent, and there is almost no connection between one episode and one episode. There is no clear goal, and there is no clear main line, it seems to be always killing monsters. Relatives are separated and friends are far away. These places that should really move people are only a brief passing. For example, in the Newcastle incident, because Constantine insisted on calling out demons he could not control, and sent a little girl to hell, this incident became his nightmare, and his friends in the past either avoided or alienated him, but And this is also the reason for his new debut-to save his soul. This should be an important clue that at least allows us to get close to Constantine's heart, and the drama only describes this tragic event vaguely through his own or other people's words, and the rest is endless for others. Condemnation cannot bring us close to the true and kind side of Constantine, nor can it arouse our sympathy. Many of the foreshadowings buried in the play were not performed later. Even if they appeared, they were quite different from what we imagined. For example, in the first episode, the seemingly important psychic female one, in the end only left a map that can track supernatural events and disappeared completely. Many characters are not full.
2 Some of the director’s shooting methods are also drunk. I don’t know if you have noticed. There are a few episodes that deliberately show you a few props at the beginning of the film. It seems that it is useless, but it will definitely be sent at the critical moment. There is no suspense for the important use! At least three or four episodes are like this. At the beginning, there is a little novelty, but repeating it N times is also exhausting. However, the most troubling thing in the whole drama is the development of the relationship between the characters in the penultimate episode. The female protagonist of the penultimate episode has just expressed her affection for the male protagonist implicitly. Passerby, the relationship between the hero and the heroine is hardly explored in the whole drama, which is really disappointing. Although "Rising Darkness" has been emphasized in the play, it still only stays on the surface in the end. The plot, which should have become more and more tense with the deepening of the story, also seems to gradually become flat. The last episode also ends in an unintelligible event. The only angel in the play who is willing to help Constantine also It just left a sentence of "the brujeria work for me", which instead brought us even greater doubts. There is almost no novelty in one episode, and it seems to hint us: No matter what terrible evil spirits appear, the great Constantine will always figure out a way to solve it (maybe even a little unreasonable), just look at it.
3 Every hero has a bright side and a dark side, a strong side and a weak side, but this play only emphasizes the strength of the hell detective and the darkness in his heart. However, no matter how dark a place is, beauty will be born. Constantine's original intention is always kind, and the film does not mention in detail what Constantine has experienced. No matter how great a superhero is, we also need to be shaped. We may prefer to see a character's growth, what kind of hardships he has suffered, and what kind of sacrifices he has made, rather than seeing a display out of thin air. Why an excellent TV series attracts us is not the strength of the protagonist, but the way it can lead us into the role. The audience can care about this role, like this role, and even put themselves in this role, witness their success, but also confirm their failure, this is what a good film really needs.
4. But I have to say. The director is very good at creating a strange sense of mystery to people, making people's feelings involuntarily rubbed into bizarre events, although the final result sometimes brings us an unavoidable gap. In the play, he tried his best to make Constantine an omnipotent hell detective. Although this may violate the character’s original intention, the director’s methods are very flexible (unlike some 50 cents special effects dramas), the director Without using too many special effects, a mysterious and unpredictable image jumped onto the screen, and all the actors in the play performed well. Although there are very few fragments in the whole show that deeply dig into the feelings of the characters, once the performance comes, it will definitely be exciting.
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