Someone has summoned them back to Narnia. That all changes one day on the subway platform, when walls, tracks, and trains are abruptly whooshed away and the Pevensies are dumped unceremoniously on a sunlit beach. They are coping with the demotion as best they can, though Peter, the eldest, is not coping well: He has lost his throne but not his sense of entitlement, as frequent fisticuffs over perceived slights attest. The story begins one year after the Pevensies-Peter (William Moseley), Susan (Anna Popplewell), Edmund (Skandar Keynes), and Lucy (Georgie Henley)-returned from Narnia, where they had established themselves as legendary kings and queens, to humdrum lives as everyday teens in mid-century London. It is a considerably sharper entertainment than the first film, but little in it aspires to do more than entertain. Yet, like the book on which it is based, it lacks much in the way of deeper resonance. In technical terms, Prince Caspian is an improvement on its predecessor in almost every sense. The second, by contrast, offers a sleek but occasionally impersonal ride from point A to point B, with plenty of dramatic stops along the way. The first, drawing on a metaphor for the psyche, was intimate and mysterious, yet a bit narrow and threadbare. In Prince Caspian, the honor falls instead to a subway station, and the shift conveys neatly the difference between the film adaptations of the two novels. In The Lion, the Witch, and the Wardrobe, the magical portal that carries the four Pevensie children from our world into the enchanted land of Narnia is the titular wardrobe.

Film narnia