Urban Thought Collective

THE CHRONICLES OF NARNIA: PRINCE CASPIAN (PG)

MOVIE BIASES:
Wasn’t sprung on the first one, but the action definitely looks better in this one.

MAJOR PLAYERS:
Ben Barnes (Stardust), Peter Dinklage (The Station Agent), Liam Neeson (Kinsey), and co-writer/director Andrew Adamson (The Chronicles of Narnia: The Lion, The Witch, and The Wardrobe).

Georgie’s back! Only the most discriminating, long-term REEL DEAL readers (Mom) will remember my REEL DEAL crush on the best thing from that pseudo-spectacular that printed money worldwide known as “The Chronicles of Narnia: The Lion, The Witch, and The Wardrobe.” The adorable Georgie Henley as Lucy Pevensie. Thanks to the relentless Disney marketing machine and a ridiculous, nine-digit worldwide gross, she’s back, with reinforcements.

One year later in WWII England for the Pevensie kids is 1300 years for Narnia. Throne-hungry Miraz (Sergio Castellitto) chases off his nephew and heir to the throne Prince Caspian (Barnes), hell-bent on exterminating the few remaining forest-dwelling, animal-friendly Narnians. Blowing a magical horn that brings the Pevensies back to Narnia to help lead a revolt against Miraz, Caspian sets ou t to bring peace between the Narnians and his native Telmarines, in spite of his uncle’s best, warlike efforts.

This ain’t your baby cousin’s “Narnia.” So dark in tenor that Starbucks could slap a $5 price tag and serve it as coffee, “Narnia” ramps up the action, albeit of the kiddie, bloodless, basic stage combat variety (how Disney bought, er, received a PG rating is beyond me; just another example of America’s double-standard when it comes to violence versus sex, and corporate influence versus independent spirit).

Once again, the production values are pretty stalwart, from the award-winning costume design by Isis Mussenden (nice “Gladiator”-style armored battle masks) to the impressive, continuously ominous musical score by Harry Gregson-Williams (Narnia I). Andrew Adamson is in fine form here, orchestrating the proceedings for maximum action-mum. As with the first “Narnia,” the special effects are special, but not mind-blowing, aiding the fantasy world enough to service the story. Yet, it’s the staging of several action set pieces, including a George Lucas-worthy, multi-tiered, third act battle royale, which really differentiates itself from its family-friendly but watered-down predecessor. With Telmarines on the warpath, numerous swordfights, and chases a-plenty, Adamson’s “Narnia” is an entertaining refresher on just how much you can get done with a bow and arrow, a broadsword, and animals that can speak.

“You may find Narnia a more savage place than you remember.” And hairier. The bad guys, a.k.a. Telmarines, led by shady Miraz, sport sinister Fu Manchus, goatees, and all manner of dubious facial hair to broadcast their cruel intentions. Centaurs roam the woods ready to rumble. Eddie Izzard (TV’s “The Riches”) voices a feisty, sword-wielding mouse alongside Peter Dinklage’s unsentimental, cuttingly dry dwarf soldier. Barnes, with his dark, floppy, Abercrombie-ready hair and nobility-inducing cleft chin, is dutifully gallant, even while promoting a curiously Eurotrash, Eastern Bloc-ish accent.

Not missing a beat, the actors behind the Pevensie children all contribute in significant ways: archer Susan (Anna Popplewell), diplomat Edmund (Skandar Keynes), hopeful Lucy (Georgie!), and swordsman/high king Peter (William Moseley; his alpha dog tussle with Prince Caspian over group leadership dynamics is somewhat amusing).

Even in face of all this frivolity, I have a gripe. My biggest gripe with the first “Narnia” and less so, but still present in this one, is that for those unfamiliar with the world of the books, it seems as if the rules and physics of that world can arbitrarily shift to suit story purposes on a whim. There’s a lot of pining for Aslan the triumphant, talking lion warrior-king. Yet, I’m never exactly sure why he doesn’t appear or what it would take to bring him out besides the hopes and dreams of an (admittedly enchanting) little girl.

Speaking of Aslan, who’s obviously an allegoric placeholder for God, “Narnia’s” script gets a touch saggy in the middle in trying to serve all its masters, offering a stealth religious-based theme of when all else fails, it’s time for a little faith. Offsetting (or adding to?) such a simplistic, moralistic message is a nice little Spygate-Roger Clemens moment, where the temptation to cheat to get ahead is overwhelming to the underdog Pevensie revolutionaries.

More isn’t always good, but in this case more IS better. More action, more set design, more Georgie!

@@@ REELS

(THREE REELS)

It’s pretty hot, go give it a shot.

Like what you read? Agree/disagree with The Reel Deal? Think he’s talkin’ out his…HUSH YO’ MOUF! (I’m only talkin’ about The Reel Deal!) Email him at EJAce1@GMail.com!

Edwardo Jackson is the author of the novels EVER AFTER and NEVA HAFTA, (Villard/Random House), a writer for The 213 Magazine, and an LA-based screenwriter. Visit his website at www.edwardojackson.com where his new novel I DO? is available NOW.