The Chronicles of Narnia: Prince Caspian

The Chronicles of Narnia: Prince Caspian videos

The Chronicles of Narnia: Prince Caspian: Trailer 1

The Chronicles of Narnia: Prince Caspian: Trailer 1

TRAILER 2:25

The Chronicles of Narnia: Prince Caspian Photos

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Cast & Crew

Georgie Henley

Lucy Pevensie

Skandar Keynes

Edmund Pevensie

William Moseley

Peter Pevensie

Anna Popplewell

Susan Pevensie

Ben Barnes

Prince Caspian

Peter Dinklage

Trumpkin

Pierfrancesco Favino

Glozelle

Warwick Davis

Nikabrik

Vincent Grass

Doctor Cornelius

Damián Alcázar

Lord Sopespian

Alicia Borrachero

Prunaprismia

Sergio Castellitto

Miraz

Liam Neeson

Aslan Voice

Tilda Swinton

The White Witch

Suzy Eddie Izzard

Reepicheep Voice

David Bowles

Lord Gregoire

Ken Stott

Trufflehunter Voice

Harry Gregson-Williams

Pattertwig Voice

Sim Evan-Jones

Peepiceek Voice

Andrew Adamson

Director

Andrew Adamson

Screenwriter

Christopher Markus

Screenwriter

Stephen McFeely

Screenwriter

Mark Johnson

Producer

Andrew Adamson

Producer

Philip Steuer

Producer

Perry Moore

Executive Producer

Harry Gregson-Williams

Original Music

Roger Ford

Production Design

Karl Walter Lindenlaub

Cinematographer

Sim Evan-Jones

Film Editing

Isis Mussenden

Costume Design

Frank Walsh

Supervising Art Direction

Kerrie Brown

Set Decoration

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News & Interviews for The Chronicles of Narnia: Prince Caspian

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RT Interview: Richard Taylor on the Weta Workshop and Prince Caspian

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Critic Reviews for The Chronicles of Narnia: Prince Caspian

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 Spill.com 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
  

  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.
  

  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.
  

  Super Reviewer