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42 of 45 people found the following review helpful:
4.0 out of 5 stars
You may find Narnia a more savage place than you remember, 28 Jun 2008
Imagine finding a magical kingdom in another world... only to return over a thousand years later, and find it in ruins.
That's the whole idea of "The Chronicles of Narnia: Prince Caspian," a superb sequel to "The Lion the Witch and the Wardrobe." While it has a climax that goes on WAY too long, this movie shows us the darker side of C.S. Lewis' fantastical world -- with a heavy dose of Shakespearean villains, political intrigue, and some spectacularly epic battles.
It's been 1,300 years in Narnia, and the human Telmarines have invaded and driven the native Narnians underground. Aslan hasn't been seen in centuries.
As young Prince Caspian (Ben Barnes) flees from his treacherous uncle Miraz (Sergio Castellitto), he's discovered by a band of Narnians, and accidentally ends up summoning the ancient Kings and Queens of Narnia -- also known as the Pevensie children. Though initially delighted to have returned to Narnia, the Pevensies are horrified when they find that their once-idyllic land has been nearly destroyed.
Caspian has been organizing a ramshackle army of native Narnians, but Peter (William Moseley) finds that fighting an organized, armed force is very different from battling the White Witch. And after a disastrous attack, the Narnians are facing almost certain destruction -- but Lucy (Georgie Henley) is convinced that Aslan can somehow save them, and restore the kingdom to Prince Caspian....
"Prince Caspian" is definitely a darker story than its predecessor -- good guys die, coups fail, the castles are grimy, some of the good guys turn bad, and a bleak, hopeless feeling suffuses much of the movie's second half. Even our heroes have to deal with their doubts and anger, especially since Aslan is conspicuously absent for 95% of the entire film.
And if the first film was a colorful fantasy adventure, then this one is a military story -- spectacular aerial drops, castle-wide massacres, and a spectacular finale involving a massive pit, tree roots, a river, and catapults. But Adamson also packs in as much violence as a PG-rated movie can contain -- while there's only a few drops of actual gore, there's plenty of beheadings, shootings and stabbings.
But Narnia itself has lost none of its charm, and Adamson lingers lovingly on the sunlit forests and quiet rivers for as long as he can. And though the story is grim, he sprinkles it with plenty of humor (the bound-and-gagged cat) and fairly snappy dialogue. One of the most spectacular scenes involves a very familiar character speaking from inside a sheet of shimmering ice, as Caspian is dragged into a necromancer's ritual. Creepy.
Problems with the movie? Well, the climactic battle drags on for a LONG time, and every time you think it'll end, it revs back up. And those masked soldiers are a wee bit too reminiscent of "300's" Persians.
The four Pevensie actors all do solid jobs, although William Moseley is the standout -- Peter is struggling with doubt and a bit of alpha rivalry. Barnes starts off a little stiffly -- come on, where's the fear? -- but soon grows into the difficult role of a Hamlet-like prince who is struggling to become both a Narnian friend and a Telmarine king.
But there's a pretty brilliant supporting cast as well: Castellitto is simply outstanding as the ruthless, icy-cold Miraz, as are Damián Alcázar and Pierfrancesco Favino as his scheming advisors. Warwick Davis does a low-key, malevolent turn as Nikabrik, while Peter Dinklage is the likably brusque, cynical Trumpkin. And Eddie Izzard is top-notch as the mousy swashbuckler Reepicheep -- this could have a silly, comic-relief character, but he does end up being both adorable and formidable.
"Prince Caspian" drops the children's fantasy feeling, in favor of a darker, more militaristic story. But despite its darker overtones, it never forgets the light side.
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15 of 16 people found the following review helpful:
4.0 out of 5 stars
Welcome return to Narnian wonderland. Great family film, 20 July 2008
Prince Caspian was mainly panned by profession reviewers, which just goes to show you shouldn't pay too much attention to them! The film provides a couple of hours of escapist fantasy, with a strong moral message, likeable characters, an interesting plot and a host of enchanting Narnians. And there's that great big lion, too; easily the star of the movie.
Unlike most sequels, Prince Caspian has a storyline in its own right and doesn't simply re-tread the plot of the first film. Narnia is in peril again and this time it is humans who are doing the damage. Much of ancient Narnia has been destroyed; the trees no longer dance, Aslan is a mere myth, and the few fabulous creatures who remain are in hiding.
The four children are summoned back (after struggling to fit back in to normal life in wartime England) to help Prince Caspian regain his throne and at the same time save the last of the Narnians from extinction.
There are a range of new bad guys (mostly humans), and new good guys (you'll love the mouse who gets all the good dialogue), and a scary-scary moment where our heroes nearly release a far worse enemy at their most desperate hour. It's always easier to turn to the dark side...!
Prince Capsian has its flaws; it's a little long, and the Prince himself is not an entirely engaging character. The makers also shied away from hammering home the film's central message (about losing/finding one's faith, and about fighting for the right thing), although it is there as a very significant under-current. It also suffers from comparison to other fantasy sagas -- although this doesn't seem fair, considering they all draw upon the same mythic legends to create worlds filled with marvellous creatures.
The Narnia films (and books) were intended for children, and should be viewed as such. Having said that -- I'm 40 and thoroughly enjoyed Prince Caspian. I'm sentimental enough to believe that it is right to fight for the oppressed under-dog, and mushy enough to go misty when the golden lion radiates his love and reassurance. (Aslan easily wins my award for 'best CGI lion' !).
If you're watching this at home and can opt for a hi-def version then I'd recommend you do so, and enjoy the effects at top quality. In any case, this is a film which your kids can watch over and over, so it's probably well worth buying if you've children aged 12 or under. My guess is that teenagers and 20-somethings might sneer... while us older ones wistfully recall the days when we could believe in fantastical centaurs and talking badgers. Delightful escapsim.
7/10
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4 of 4 people found the following review helpful:
4.0 out of 5 stars
PRINCE CASPIAN LIVES UPTO THE HYPE, 15 July 2008
This sequel to The Lion, The Witch And The Wardrobe is quite a bit darker. The good news is that it's also better.
It follows a film that boasted strong special effects, decent child performances and faithfulness to its source material, but somehow seemed a little empty, lacking the heart and soul that make the source novels such perennial favourites and that made, say, The Lord Of The Rings movies into such great examples of filmmaking. This one's a little closer to what we wanted first time around, at least giving texture to Narnia and some indications that this is a land that can, and does, support an actual population - and, if it's still more conjuring trick than deep magic, it's a step in the right direction.
The opening of the last film - an air raid over World War II London - was one of the highpoints, and this one also throws us straight into the action. More than a thousand years after we last saw Narnia, a baby is born in a dark, heavily fortified castle - prompting its father, Lord Miraz (Sergio Castellitto), to order the murder of his nephew, the rightful ruler, Prince Caspian (Ben Barnes). Escaping through a wardrobe (a different one), Caspian rides into the "haunted" woods, where he finds the supposedly extinct Narnian natives in all their shapes and sizes. Pursued by his fellow Telmarines, Caspian blows a mysterious horn - and summons the four Pevensies back to Narnia.
The quartet - Peter (William Moseley), Susan (Anna Popplewell), Edmund (Skandar Keynes) and Lucy (Georgie Henley) - are only a year older, and they're all dealing with the fall-out from their adventures in different ways: in Peter's case, by starting fights; in Susan's, by avoiding the attentions of nerds (not sure we got the connection there); in Edmund's, by feeling unappreciated; and in Lucy's, by blithely remaining faithful to the idea that she will one day return to Narnia. And so the stage is set. Caspian and the Pevensies have to find each other, forge an alliance with the magical creatures of Narnia, take down the bad guys and persuade the long vanished Aslan to make a return appearance in time for prize-giving medals and afternoon tea.
The difference this time is that the enemies aren't just make-believe creatures but flesh-and-blood humans, and as such, they're wilier and sneakier than any witch that ever lived. The book's rather simple plot is fleshed out with the addition of much political skullduggery among the Telmarines - both from the sinister Miraz himself and from his councillors and general - which adds something for those over the age of 11. The infighting does detract a little from Miraz's personal menace, but that's compensated for by introducing dissent among the Narnians themselves. Dwarf Nikabrik (Warwick Davis) hints at a dark side missing from the happy-clappy first film, especially in one stand-out scene just after the mid-point which we won't spoil.
Against these foes and their vast, masked armies, the new good guys are perfectly cast. Ben Barnes' Caspian is appropriately heroic, but with edges of insecurity and occasionally bullishness - he butts heads with High King Peter, still trying to take charge - that make him more than a cookie-cutter swashbuckler. There's a romantic subplot with Susan that's a little ill-judged, but otherwise it's a confident, charismatic debut that makes the prospect of Barnes taking an even bigger role in the next film, Voyage Of The Dawn Treader, quite welcome. The comedy weight, however - and this is a significantly funnier film than its predecessor - is carried by the grumpy, strangely adorable Trumpkin, beautifully played by the dependable Peter Dinklage, and Reepicheep the fighting mouse, voiced with pizzazz by Eddie Izzard. Still, it's not all so well-judged. The principal flaw here is the urge to explain everything, to emphasise moments instead of letting them flow. At times, the camera lingers in a way that is clearly meant to Signify Something Important; at others, it just hangs around to admire the beauty of the New Zealand scenery and the excellent special effects. But this look-how-pretty showboating verges on effects porn, and it slows down both drama and tension inexcusably. There's also a frequent sense that we're being force-fed emotion: the chief centaur, for example (who is described in the production notes, in a surfeit of political correctness, as "African-Narnian"), has little to do but nod approvingly or gaze reproachfully, just to make sure we get it.
And the performances of the older kids remain ropey. Moseley's Peter still gives little sense that he's a natural leader of men, with a subplot detailing his insecurities and rivalry with Caspian detracting further from any impression that he's worthy to be High King. Popplewell, meanwhile, pouts her way through scenes which require little from her but archery, and can't seem to get any traction on a character that was always the least well thought-out of the lot. The younger pair are better: Keynes, who has the most interesting Pevensie to play - one always gets the sense that Edmund is easily the smartest of the quartet - gets to do nothing but make (admittedly funny) sarky remarks. Only Henley, happily, is every bit as charming as she was in the first film.
Around these central characters hang a host of brilliantly realised animals, monsters and magical creatures of all stripes (and spots), and this time the FX work is damn near flawless. The griffins are much better than Harry Potter's, the minotaurs are wonderful, and the sight of fauns in combat take wire-fu to a new level. The lengthy but well-staged battle scenes are genuinely thrilling, both in a night-time assault and a sunlit mêlée. With their faster pace, bigger numbers and higher stakes they recall a multi-species Braveheart rather than the slightly disappointing effort at the end of the last film, and there's a sense of real lives at stake. Of course, there's nary a drop of blood spilled by anyone, despite the wholesale slaughter on both sides and the disturbing sight of these kids merrily swinging daggers and swords - an increasingly dishonest practice to get this level of violence into kiddie films. In the end, perhaps, the fights are a bit like the film itself: effectively realised, full of characters you love, but a little bloodless.
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