The story starts right
up without pausing considerably to educate unfamiliar or forgetful
audiences as to the origins of Narnia, or to the magical elements
that affect the Pevensie children. While many will grow accustomed
to Narnia’s paradisaical qualities, the children’s return,
without the use of the wardrobe, is rather inexplicit. Along those
lines, the mysteries surrounding Aslan’s apparitions, Lucy’s
selective use of her healing serum, and the unharnessed powers of
Mother Nature all bring questions to the film; most of which are
not answered.
As the children mature, so do the Shakespearean themes and tone
of this darker follow-up. Tragically, the biggest downfall to
the fascinating world of Narnia and its engrossing inhabitants
is the fact that nearly every idea has already been expended by
other movies. C.S. Lewis may have crafted many of his creative
elements years before Shrek or 300, but those movies beat Narnia
to the big screen. Whether it’s Reepicheep, who is unappealingly
similar to Shrek’s Puss In Boots, or the Telmarine infantry,
whose armored masks closely resemble 300’s Immortal army,
Narnia simply doesn’t feel original. It’s a shame
that many viewer’s first encounter with the thaumaturgical
inventions will be through the film and not the novels.
Despite a Lord of the Rings: Return of the King conclusion (a
comparison that fantasy films should avoid), Prince Caspian indeed
amps up the adventure. Better action, superior use of slow-motion
and family friendly violence (such as a PG decapitation) aid in
the film’s smooth pace and sustained action. A more savage,
war-torn Narnia doesn’t necessarily make a better one, but
new heroes and villains, nonstop epic battles, and a mature setting
help keep the second Chronicles afloat in the heavily treaded
waters of fantasy tales.
- The Massie Twins
