Review: The Chronicles of Narnia: Prince Caspian

* * * 1/2

Ben Barnes, William Moseley, Anna Popplewell, Skandar Keynes, Georgie Henley, Peter Dinklage, Sergio Castellitto, Warwick Davis. Screenplay by Andrew Adamson, Christopher Markus and Stephen McFeely, based on the novel by C.S. Lewis. Directed by Andrew Adamson. Rated PG. 144 minutes. Walt Disney Pictures.

Back and even better than the solid first film, The Chronicles of Narnia: Prince Caspian, continues the adventures of the Pevensie siblings in the enchanted—and this time, darker and more dangerous—land of Narnia.

A year as passed since the children’s first trip through the magical wardrobe and ennui has set in, rendering them unable to reconcile the doldrums of being ordinary school kids with their past royal adventure in a land to which they long to return. The eldest, Peter (William Moseley), Susan (Anna Popplewell) and Edmund (Skandar Keynes), have matured as teens while younger Lucy (Georgie Henley), retains a youthful innocence.

Meanwhile, 1,300 years after the liberation Narnia experienced in the first film, trouble brews as a corrupt royal power play lands evil King Miraz (the excellent Sergio Castellitto) on the throne that rightfully belongs to nephew Prince Caspian (Ben Barnes), jettisoned to avoid execution in a castle cloak-and-dagger opener leading to a thrilling forest chase.

Stranded deep in the Narnian forest, Prince Caspian summons the Pevensie clan (themselves Narnia royalty), transported from a dingy London subway tunnel to a deceptively beautiful beach and delighted to be back in their fantasy world, which is quite different than they left it—now ruled by the Telmarines with an iron fist and no trace of the glory that once was.

Aided by three clever, sharp-shooting mice, crafty dwarves Nikabrik (Willow’s Warwick Davis) and Trumpkin (Peter Dinklage), a resourceful badger, scores of minotaurs, centaurs and other fascinating creatures, they team up to take back the land of Narnia and restore liberty to the land and Prince Caspian to his birthright.

A natural rivalry ensues between Peter and Prince Caspian, engaging in flirtation with Susan while young Lucy dreams of the great lion king Aslan, whom only she, with her childlike perspective, seems to be able to see as the film suggests a loss of innocence in the teens.

Several sequences enthrall here including a dramatic battle atop a castle involving a closing gate that imperils the Narnians, and a final battle sequence with some truly special effects and surprises, including fighting tree roots and cave-ins along with some nifty war weapons and a pretty cool flanking maneuver. There is also an impressively terrifying scene in which the White Witch (Tilda Swinton) returns with the help of a couple dark, evil goblins. The creatures are well imagined in this installment, including giant, winged animals transporting the heroes through the dark night sky.

But most exciting is way director Andrew Adamson mounts the climactic mano-a-mano between Peter and King Miraz, a superbly staged, three-act takedown in grueling close-ups and slow motion, a clash of young and old, good and evil, idealism and corruption. The visceral nature of this scene may surprise younger viewers, but it is notably impressive for both performances and its minimal, hand-to-hand grittiness not found anywhere else in either film.

Despite these strengths, the problem with both Narnia films lies squarely with its five bland young protagonists, giving us little emotional stake in the film. None of them seems to truly connect here. While Moseley is effective in his combat scene, through most of the film he registers as a petulant, prissy teen and Popplewell couldn’t be more vague, exposing Prince Caspian’s attraction as a perfunctory matter of plot rather than visible chemistry onscreen. She gives underplaying a new definition.

And Barnes, calling to mind Orlando Bloom, is pretty, a bit wan, and too stoic until he smiles in the final third. He’s certainly attractive but just not warm enough for most of the film. Keynes is not memorable and young Henley makes the most of her scenes with Aslan, voiced by Liam Neeson with a tad too much majesty for my ear.

It is this lack of character attachment that keeps this series behind the Harry Potter franchise, which itself is behind the Lord of the Rings, both offering far more compelling characters and worlds. Fortunately, a solid supporting cast led by the wonderfully resourceful Dinklage and rich Castellitto carry the day, along with those superb and fun action sequences.

The Chronicles of Narnia: Prince Caspian is an exciting, entertaining film, despite the sometimes-distant young actors and requisite, obvious Christian symbolism that includes a nature metaphor in the film’s climax that couldn’t be more obvious.

After a lengthy 144 minutes, the film ends on a bittersweet note, incorporating a terrific pop song and a welcome bit of heart.

Recommended.

- Lee Shoquist

lee@atnzone.com