The Chronicles of Narnia: Prince Caspian


The Chronicles of Narnia: Prince Caspian

Critics Consensus

The Chronicles of Narnia: Prince Caspian is an entertaining family adventure worthy of the standard set by its predecessor.



Total Count: 190


Audience Score

User Ratings: 552,811
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Movie Info

The adventure continues as producer/director Andrew Adamson teams with screenwriters Christopher Markus and Stephen McFeely to tell the tale of the dashing Prince Caspian (Ben Barnes) -- who sets out to defeat a tyrannical king who has overtaken Narnia and secure his rightful place on the throne. One year has passed since the events of The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe, and now the kings and queens of that land have returned to make a shocking discovery. Though by their calendars it has been only 12 months since their last voyage into Narnia, the four children are aghast to realize that 1,300 years have passed in the wondrous alternate universe. The Golden Age of Narnia has come to an end, and now the malevolent King Miraz rules over the land without mercy or compassion. Miraz is determined to ensure that the power stays in his bloodline, even if that means killing his nephew Prince Caspian so that Miraz's own son will be next in line for the throne. Fortunately Prince Caspian has the Narnians on his side, and with a little help from the kings, the queens, and some loyal old friends, he may be able to ensure that peace and prosperity are restored on the once-beautiful realm of Narnia. ~ Jason Buchanan, Rovi


Georgie Henley
as Lucy Pevensie
Skandar Keynes
as Edmund Pevensie
William Moseley
as Peter Pevensie
Anna Popplewell
as Susan Pevensie
Ben Barnes
as Prince Caspian
Warwick Davis
as Nikabrik
Liam Neeson
as Voice of Aslan
Vincent Grass
as Doctor Cornelius
Cornell John
as Glenstorm
Pierfrancesco Favino
as General Glozelle
Damián Alcázar
as Lord Sopespian
Alicia Borrachero
as Queen Prunaprismia
Predrag Bjelac
as Lord Donnon
David Bowles
as Lord Gregoire
Simón Andreu
as Lord Scythely
Tilda Swinton
as The White Witch
Shane Rangi
as Asterius/Wer-Wolf
Douglas Gresham
as Telmarine Crier
Ash Jones
as Geeky Boy
Sim Evan-Jones
as Peepiceek
David Walliams
as Bulgy Bear
Winham Hammond
as Telmarine Solidier In Boat
Hana Frejkova
as Midwife #1
Lucie Solarova
as Midwife #3
Alina Phelan
as Midwife #5
Isaac Bell
as Boy #2
Lejla Abbasova
as Glenstorm's Wife
Ephraim Goldin
as Glenstorm Son #1
Yemi A. D.
as Glenstorm Son #2
Carlos Dasilva
as Glenstorm #3
Gomez Sandoval
as Lightning Bolt Centaur
Jan Filipensky
as Wimbleweather
John Bach
as British Homeguard #1
Jack Walley
as British Homeguard #2
Marcus O'Donovan
as Skeptical Telmarine Soldier
Adam Valdez
as Killed by Reepicheep
Ken Stott
as Trufflehunter
Harry Gregson-Williams
as Pattertwig the Squirrel
Eddie Izzard
as Reepicheep
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News & Interviews for The Chronicles of Narnia: Prince Caspian

Critic Reviews for The Chronicles of Narnia: Prince Caspian

All Critics (190) | Top Critics (45) | Fresh (126) | Rotten (64)

Audience Reviews for The Chronicles of Narnia: Prince Caspian

  • Dec 19, 2013
    I'm not as big of a fan of C. Robert Cargill as I am of the other critics, but I loved how he described this as something like a film about George W. Bush, in that it's about a powerful leader going missing long enough for followers' faith to go shaken, only to return to find that the Mexicans have taken over (Well, the Latin-esque culture presented in this film is a little more Spanish, but hey, this world doesn't exist, so what does it matter?). I'd imagine those who remember the last film are a little confused about my referring to only one leader, but don't worry, people, as I'm not talking about the four kids as the returning leaders, but rather, Aslan, because he doesn't really do much of anything until the last minute. You know, a lot of people complain about that, but I can kind of understand, because Liam Neeson hails from that part of Ireland that hasn't been liberated from the UK yet, so it figures that his character would take his sweet time before preventing soldiers who are as English as one can get from getting killed. Well, that ostensibly holds Aslan back for such a long time, as well as Andrew Adamson's wanting to keep up as much of the action and adventure as he possibly can. They spent a lot of money on this "Lord of the Rings" rip-off, and Adamson is going to get you to enjoy it, because you know that a Kiwi knows how to work a high fantasy epic. I reckon New Zealanders just know how to work with high fantasy, as Adamson's real claim to... relative fame (Oh, how many kids care who makes films like these anyways?) were the first two, decidedly non-epic "Shrek" films, yet now that he's done with all of that kiddy junk, he can get down to some hardcore fantasy, or at least fantasy that is about as hardcore as Disney will allow it to be. Come to think of it, "The Lion, the Witch and the Wardrobe" was kind of kiddy, too, but by this film, you better believe that the gauntlet is down, which would be awesome and all if this effort, as rewarding as it is, didn't have enough things to slip on. I joke about this film ripping of, like, "The Lord of the Rings" or something, but this high fantasy epic really does take from a lot of sources that follow subject matter of this nature, at least by now, for what may have been refreshing material in 1951 feels worn down now that it's being interpreted while we're still coming down off of stuff like "The Lord of the Rings", whose standards it still can't quite achieve. Now, when I say that this film is kind of watered down, I don't necessarily mean that Disney sanitizes this approach to potentially meaty subject matter, like it did with "The Lion, the Witch and the Wardrobe", as there's a lot more distinct maturity to storytelling here, it's just that this story concept isn't quite juicy enough for you to ignore elements that you may recognize from more refreshing and better high fantasy epics, at least when juice goes gradually thinned out as things meander along. This subject matter is a little more layered than the story concept of "The Lion, the Witch and the Wardrobe", but the runtime of exactly two-and-a-half hours is still questionable, as writers Andrew Adamson's, Christopher Markus' and Stephen McFeely's storytelling finds itself dragged out, not so much by excess filler, but by excess material that bloats the film with a few too many layers, which gradually become convoluted and, even worse, aimless. The script spends so much time focusing on light layers and exposition surrounding plot that the core of this narrative ironically becomes unfocused, resulting in long lapses in momentum that aren't quite as severe as they were in the predecessor, but still stand as a serious issue. Bland aimlessness all but drives the final product into underwhelmingness, as it provides quite a bit of time for momentum to die down, especially when you've the time to think about other shortcomings, further stressed by a sense of overambition, which is matched by inspiration, but still adds to the final product's overblown feel. There aren't really a whole lot of problems here, but the issues in originality, pacing and overambition are so recurring and so considerable that they challenge your investment greatly, threatening the final product with the underwhelmingness that the predecessor was not quite realized enough to escape. Of course, "The Lion, the Witch and the Wardrobe" bordered on rewarding, and considering that there is a fair bit, but nonetheless decisively more inspiration here, this particularly effort really compels, at least aesthetically. The great Harry Gregson-Williams returns for this follow up to "The Lion, the Witch and the Wardrobe, as score composer, and while his efforts are still pretty conventional, the formula is explored well, offering a whimsical heart that both waters down and quirks up a "Kingdom of Heaven"-like style and sweep that aren't quite as realized and great as they were in the, at the very least, outstandingly well-scored "Kingdom of Heaven", but capture a sense of grandness about as much as cinematography by Karl Walter Lindenlaub whose lighting and coloring are not all that special, but whose grand shooting style immerses you into a well-produced world. If I can praise nothing else about "The Lion, the Witch and the Wardrobe" over this superior sequel, the tastes in locations within this film are not as lavish and colorfully dynamic as those within the predecessor, yet an immense art direction time consisting of David Allday, Jules Cook, Jill Cormack, Matthew Gray, Stuart Kearns, Jason Knox-Johnston, Elaine Kusmishko, Phil Sims, Jirí Sternwald and Frank Walsh still provides plenty of distinguished and immersive production values that join well-conceived and relatively seamlessly incorporated effects in selling this world with a dazzle that is particularly pronounced on display in the heat of some thrillingly well-staged action sequences. Having less of a desire to appeal to the youths with short attention spans, this film's technical value and style are a little less colorful than those of "The Lion, the Witch and the Wardrobe", but they compensate with effectiveness to compliment eye candy that is sure to dazzle kids and adults alike, though not without losing substance. Now, like I said, this film is not too much, if at all less unrefreshing and unfocused than its predecessor, but where the predecessor in question found much of its potential undercut by a touch too much Disney safeness, this subject matter is more grown up, with more attention to intriguing political and dramatic depths to call your attention more towards the layered scope of this epic narrative. Whether it be because of the meanderings or because of the natural shortcomings, this epic doesn't offer a whole lot of sweep to its scale, but there's still plenty of meat to the heart of this drama, anchored by intriguing characters who are sold by good performances, and by a well-layered narrative that is sold by good direction. As director, Andrew Adamson still needs to brush up on plenty of elements when it comes to matured, realized direction that is inspired enough to match ambition with deliverance, but lively plays on score and style establish a tight pacing that both entertains and establishes a sense of importance that is limited by scripted meanderings, but still stands, backed by consistent compellingness that is punctuated by a more realized celebration of gritty set pieces and imagery that bites with tension, if not compellingness. What "The Lion, the Witch and the Wardrobe" lacked was just a little bit more weight to go with all of the good acting, technical proficiency and stylish sense of wonderment, and here, Adamson delivers, maybe not to where I finally got the high fantasy epic that I want to see out of this series (Oh, I'll just go watch a "Lord of the Rings" movie again), but certainly to where I personally found myself rewarded. Overall, reward value is sustained by a good bit of the unoriginality, aimless bloating and overambition that were severe enough to drive the predecessor into underwhelmingness, but through grand scoring and visual styles, immersive art direction, visual effects and action, good acting and inspired direction behind a more mature, compelling narrative, "The Chronicles of Narnia: Prince Caspian" rewards as a thoroughly entertaining and compelling high fantasy, if you will, "filler epic" (It's still not "The Lord of the Rings" meaty). 3/5 - Good
    Cameron J Super Reviewer
  • Aug 05, 2013
    The second installment of C.S. Lewis' famed fantasy novels is a visual advancement from the first of the series. Though it may not obtain the same magic and charm that upheld the the previous film, The Chronicles of Narnia: Prince Caspian is still an entertaining and enthralling family film to see. 4/5
    Eugene B Super Reviewer
  • Jul 23, 2012
    Like it's predecessor, it tends to drag on, with almost no humor other than Reepicheep the mouse and too much action, let alone a little over-the-top, for a family film. However, the intelligence of the main cast is still present and it's darker tone with the Telemarines brings up the tension within the whole story of heart over merciless mayhem.
    Max G Super Reviewer
  • Jul 14, 2012
    The movie is great to look at, but it is so far from the quality of the first film that it cannot help but feel like a straight to DVD follow up or a TV special. The film is chalk full of uncomfortable acting and unnecessary deviations from the text, such as a cringeworthy hinted romance between Caspian and Susan. Unlike the first film, Caspian brings no raw emotion to the stage, and is simply lifeless.
    Matthew Samuel M Super Reviewer

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