Here we see the origins of Lucien (Michael Sheen) the first lycanthorpe who has the ability to change into his werewolf form at will, his forbidden love with vampire Sonja (Rhona Mitra) and his fight for freedom against his vampire rulers led by Victor (Bill Nighy).

Stepping down from the director’s chair after making the underwhelming but action packed Die Hard 4.0, Len Wiseman leaves the directing reigns to his production designer Patrick Tatopoulos who in doubt has garnered enough experience over the years working on the likes of Stargate and Silent Hill. And the French wizard gives his best efforts to make this rather limp and unnecessary prequel.

The film bears most of the same flaws that burdened the first two installments such as extremely dark lighting, choppy editing and the same camp and bombast tone that never changes throughout. Fortunately the director allows the story to run with a more coherent sense of storytelling.

The film does have one ace card though with the always charismatic Micheal Sheen a highlight of the first Underworld and here as the films main attraction displaying the right balance of empathy and ferocity whilst been a surprisingly convincing action lead.

Rhona Mitra does her best with what material she is given as Lucien’s doomed lover Sonja. Mitra who was last been sexy and kicking ass in Rob Marshall’s god awful mess Doomsday, is once again convincing as an action heroin but she just doesn’t have the magic or indeed the looks of Kate Beckinsale (Who is really missed in this film). Sadly, nothing good at all can be said for Bill Nighy whose camp delivery of ever line goes into overdrive here until you almost wonder if he is purposefully parodying himself.

But the worst offender of Rise of the Lycans are the special effects abandoning all classic effects of the past for some truly shoddy CGI (even the blood is CGI), the score is forgettable whilst most of the action is tame at best with only the swordplay making any impact. The whole effect with exception to some of the cast give the impression that Rise of the Lycans should have been a straight to DVD release and will only satisfy diehard fans of the originals looking for more of the same.

Danny writes for the famous movie memorabilia site STARSTORE and its blogs, covering the latest and greatest in film, TV, music and comics merchandise and collectibles.

Author: Ben Stranderts
Article Source: EzineArticles.com
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No doubt the vast majority of the audience disagrees as it was one of the most popular blockbusters of recent times, breaking countless records including the first film to exhume over $100 million at the US box office in its opening weekend. It all appears quite faithful to the comic book. The CGI rendering of Spiderman himself is flawlessly done; you’d think they got a stunt man to swing around the dizzying heights of the New York skyline.

The first 45 minutes of this film are the strongest. We are introduced to Peter Parker (Tobey Maguire) and his life as the nerdy teenager, in love with the gorgeous Mary Jane Watson (Kirsten Dunst) but never really able to catch her attention. We see a lot of things that as an adolescent (particularly a male adolescent) can relate to, including the various plans Parker puts in to place to try and catch her attention. You see his interactions with classmates who bully him, but after he gets his spidey-powers, all of a sudden it’s the ultimate nerd fantasy with Parker being able to utilise his new powers to defend himself and catch the attention of the girl.

Everything else about the film is mediocre at best. I’m the first to say that Tobey Maguire doesn’t do much for me. He plays the nerd part of Peter Parker sufficiently, but he doesn’t seem to have much depth in his acting abilities (shock horror, I’m asking for depth in a film like this…). Kirsten Dunst is quite good as the love interest as is James Franco, Peter’s best friend.

The villain was a disappointment. Willem Dafoe is a great actor and does a really great job of portraying the psychotic Norman Osborne/Green Goblin, especially in the scene where he is talking to himself in the mirror, but the overall design of the Goblin is just silly. I’m sure it looked great in the comic books but not being able to see his face is a huge problem; he just isn’t menacing.

After that first act, the film really does go in to the standard conventions of the superhero defeating the villain, but it doesn’t really resonate much because we’ve seen it all before, only we’re seeing Spiderman do it. I just wished they had done something to really define Spiderman away from the other superhero films (as there’s been many now). It also would have been nice to see the film in the full widescreen format. A film of this scale tries to be an epic and not shooting it in that format negates that aspect. Also, because I was getting fidgety and bored by the end, I happened to notice a whole bunch of continuity problems in the final scene between Peter and Mary Jane; watch the movement of her hand on Peter’s face throughout this scene, it’s all over the place!

Overall, it’s partly fun and entertaining, fresh in parts, but overall, nothing really special.

Author: Alex Demattia
Article Source: EzineArticles.com
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The film starts with a daring rescue attempt made by Anakin and Obi-Wan of Chancellor Palpatine from the evil General Grievous. R2-D2 finally gets a few moments to shine, and the tone of the piece is established straight away with Anakin killing Count Dooku at Palpatine’s insistence. It’s a marvellous mirroring of a later scene where Anakin has the chance to stop Palpatine from taking over the galaxy under similar circumstances but ultimately chooses to save him for his own selfish reasons. We are then drawn in to the Jedi Council where Anakin is ordered to spy on Palpatine. This begins to drive a wedge between Anakin and the Jedi Council as Anakin is a friend to Palpatine and finds their orders treasonous. Obi-Wan tries to mediate between the two parties, but ultimately ends up failing, culminating in their spectacular final lightsabre battle which Anakin loses, leading to his transformation to Darth Vader. What’s surprising about this film is that you go in expecting it to be dark, but it’s actually much darker than you would expect. You actually get to see Anakin burnt to a crisp, remade with electronic components and transformed in to Darth Vader. You see Anakin, once he turns to the dark side, start killing Jedi, even children. And it’s a chance to see Darth Sidious come to the forefront, becoming Emperor Palpatine and turning the Republic in to the Empire. It’s a welcome infusion of dramatic seriousness to the storytelling that was sadly lacking from the previous two entries in the series.

The standout in this film has to be Ian McDiarmid’s perfomance as Darth Sidious. He finally get the chance to be the bad guy as opposed to the guy in the shadows in the previous two films. He is truly menacing and sinister in this film; the scene where he kills Samuel L. Jackson’s Mace Windu character is a powerful scene, but likewise, a scene at an Opera where he begins seducing Anakin to the dark side is delightfully restrained but wonderfully performed, providing an opportunity to see just how good a puppet master Sidious is. Any time he’s on screen, especially as the newly transformed Emperor are amazing.

The CGI has somehow been improved yet again; say anything you like about George Lucas’ storytelling abilities but he certainly knows how to push his troops to the limit to make some breathtaking images. The sequences on the volcano planet are absolutely extraordinary, especially as the CGI was combined with real footage taken of a volcano eruption. But almost every frame is incredibly vivid and detailed; the opening two minute shot which introduces a spectacular space battle over the planet-city of Coruscant is breathtaking in its scope. Your eyes will be glued to the screen, taking in some amazing images and is worth watching all on its own.

There are still some problems however; we still get some of the awful romance plot left over from Episode II, but thankfully it’s only relegated to a few short scenes. Hayden Christensen still hasn’t learnt how to act. When he becomes evil, he doesn’t look or sound any different than before. There is still some fat in the storytelling; the wookie planet and battle and anything to do with General Grievous are fun to watch but ultimately don’t contribute much to the story. There are some clumsy story-telling and plot moments; Anakin’s turn to the dark side is forced and occurs way too fast. He goes from feeling guilty about having a part in Mace Windu’s death to committing himself to the dark side within a matter of sixty seconds. It really is a shame that a man of Lucas’ intelligence and logic could have allowed such laziness and illogic to creep in to his stories.

Overall, a highly enjoyable film that reminds you why Star Wars was such a great franchise.

Author: Alex Demattia
Article Source: EzineArticles.com
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Let me begin by saying that I have a very uncanny and unconventional sense of humor – even the smallest joke will have me in stitches. So when I saw the trailer for Balls of Fury whilst enjoying another daily trip to the cinema I thought this was going to be another Dodgeball-esque spoof, which would have me laughing myself into an early grave. Instead this film failed to excite the small child within.

The creators Robert Ben Garant and Thomas Lennon are well known for their works on Reno 911 Miami, a funny police comedy, shot in a style cleverly imitating a documentary. Balls of Fury on the other hand is a hopeless attempt to be classed as a slapstick comedy.

The film opens with a sequence where we are introduced to 12 year old Randy Daytona – America’s Ping Pong Champion. He reaches the finals of the Olympic Games but realizes his father has made a bet with Triads for him to win and little Randy loses focus, embarrasses himself and has to forfeit. His father is then kidnapped and murdered by the Triads and since then Randy has never played ping pong competitively.

19 years later, Randy (Dan Fogler) becomes a showcase performer as a “Ping Pong Magician” to a half-dead crowd; unfortunately one of his tricks goes pear-shaped and he accidentally kills an audience member. He loses his job and just when he thought his luck could not get any worse an FBI agent, Rodriguez (George Lopez) visits him.

Surprisingly though, Rodriguez has a proposition for Randy to go undercover and help bring down the notorious Chinese mafia leader known as Feng (Christopher Walken), the man who killed his father, by participating in an annual underground Ping-Pong Tournament. He agrees to this proposition without much inner turmoil and then acquires the help of a blind Ping-Pong guru Master Wong (James Hong) and his niece Maggie (Maggie Q) for the task. (A flat and unconvincing ‘love’ story is later played out between the two.)

At this point, I felt a lot of empathy Randy, but scene by scene the film, jokes and plot wore thin and by the time the movie reached its climax, the only empathy I had left was for the person sitting next to me who had to share this traumatizing experience of recycled clichés and dry plotline with me.

Fogler’s performance did not impress me; in fact he was in my eyes just a recycled version of Jack Black – constantly using his paddle as a form of guitar and every now and again referring to Rock music when it had nothing to do with the either his character’s persona or the plot. Personally, Ron Jeremy should be proud that he has a look-alike. His performance is barely funny and completely unwatchable; really he should stick to underground Broadway shows.

The film portrays Agent Rodriguez as another clichéd poverty driven Latin-American, his character continuously quotes from De Palma’s (1983) ‘Scarface’, also adopting Tony Montana’s attributes of shooting uncontrollably, leading me to believe the Latin-American’s social status and representation is still problematic in Hollywood and further in North American and global culture.

In fact, the horrible concept of an American being the leader of a Chinese Mafia shows how powerful American white supremacy is over other cultures, but it’s a comedy so it wouldn’t be taken seriously, or will it? Whilst I applaud Walken’s desperate attempt to bring some humor to the role of Feng and the movie in general with his witty one-liners but let’s face it, what’s so funny about a transvestite geisha?

His role however not only brought up issues of American supremacy in the reasoning behind why a white American man was playing this character but also highlighted the lack of a Chinese actor to play it instead. It lead me to question why are ethnic minority groups so underrepresented (and clichéd) in Hollywood? this isn’t the first of it’s kind recently this year Angelina Jolie played the role of mixed race Mariane Pearl (Dutch-Jewish, Afro-Latino-Cuban and Chinese Cuban ancestry) in A Mighty Heart which sparked huge controversy. Is it a question of not having enough actors from these groups in Hollywood or just that they aren’t being given the same opportunities as the ‘bigger’ more popular and well known faces? It is something that really plays on my mind and is an issue I feel should be questioned and raised in order to force directors and institutions to reconsider.

The film miserably failed in engaging us with the so called love story. In one scene, Maggie can barely stand Randy as she has a complete distaste for men and how they approach her, then suddenly in the next scene she is slobbing his face off and can barely drag herself away from him, I thought “did I miss something?”. Apparently not; the ‘hardened’ female succumbing so easily to a man was yet another clichéd and misrepresented character in the film.

In conclusion, this film is a complete flop, however the only part which I actually enjoyed other than the ending(!) was the CGI during the Ping Pong matches, oops? Was I supposed to say that, or did they actually want us to believe they spent hours of training, playing ping pong in preparation for the film? Needless to say there was only 2 good points to the film, Maggie Q, (Mission Impossible: 3 and Die Hard 4:0) who now has more of a speaking role, albeit fiercely hemmed into Hollywood conventions; she still is such a pleasure so see on the screen. It’s shocking that this film grossed over $32 million dollars, but I guess that’s showbiz.

Author: Simon Gangadeen
Article Source: EzineArticles.com
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The plot of T2 is in essence the same as T1, but some of the details have been changed to introduce some surprises. T2 can get away with by and large recycling the plot of T1 mainly because from a technologically standpoint it is vastly superior to T1, almost as if we’re seeing how T1 would have looked had Cameron been given $100+ million to make that film. Two terminators are sent back in time, one to protect John Connor (Arnie) and the other to kill him (T1000). After the T1000 unsuccessfully makes an attempt to kill Connor in a thrilling bike/truck chase only to have Arnie save the day, Arnie and Connor break Sarah out of the mental hospital she’s held in and together they all go on a search for the cause of Judgment Day, a brilliant scientist at a research facility called Cyberdyne who have secretly retrieved the remaining parts from the terminator in T1 and have used it to start creating technology that will eventually create Skynet, the massive computer system which becomes self aware and starts the war against humanity.

One massive improvement is the T1000. T2 was only the second major Hollywood film to utilise CGI (this is 1991 folks!) and the T1000 represents a milestone in the creation of computer-generated images. His ability to shapeshift and transform his liquid body is a visual feast and genuinely jaw dropping, and has the added dramatic effect of making him appear invincible. Even Arnie’s robot, which seemed pretty unstoppable in T1, seems soft and out-of-date compared to this bad boy. Robert Patrick does an excellent job of exhibiting an emotionless, driven robot with only one aim to kill John Connor.

One can’t miss saying that Arnie is also excellent in this film. It’s really the only role he can play seriously. One of the great things in this film is that Cameron, at least for the first twenty or so minutes, doesn’t really tell us which robot is the one who’s out to kill Connor. There’s a long build-up scene in a shopping centre when both terminators are hunting down Connor and only until both are pointing their guns at Connor do we finally see which one of them is the good guy. It’s a great dramatic convention and works great in the story.

I found Linda Hamilton’s soldier/warrior take on the Sarah Connor character a little annoying. She’s too tough and unsympathetic. No surprise of course given she’s fighting an insidious, unstoppable enemy, but even so, she hardly ever shows any sign of being likeable. Probably not all her fault as she obviously did what Cameron told her to do, but it would have been nice to see a bit more humanity in this character except for the few brief moments that we do get.

Perhaps the only down-side to this film, despite its luxurious and lavish visuals and stunts, is not really as dramatic as T1. Even though T1 looks very cheap by comparison, there was something far more sinister and atmospheric to that film that T2 doesn’t really replicate. It might have been the injection of some humour in to T2 that did it, or even just that it’s not a novelty seeing the same idea again, but T2 does lack some dramatic punch. Another objection lesson in how spending lots of money doesn’t always guarantee a better result. Having said that though, T2 is big, bold and dramatic with some spectacular action sequences that are worth the price of admission.

Terminator 2: Judgment Day is an excellent sci-fi actioner that has rightfully earned the title of ‘classic’.

Author: Alex Demattia
Article Source: EzineArticles.com
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The first half of the film seems as if its aimed squarely at a North American audience. We are introduced to Emperor Land, home of the Emperor penguins. They are a happy, but conservative society. When young Mumble is born with an inability to sing, but an aptitude for tap dancing, he is immediately shunned by almost everyone as being a freak and unable to work within their society. This segment of the film contains a number of songs and is quite effective, but ultimately seems a bit derivative of earlier CGI films. It’s the setup designed to introduce the world and a character who although starts off as the outcast will ultimately save their society.

It’s the second half of the film where things get really interesting. Pushed out of Emperor Land, Mumble makes friends with some smaller penguins and they go out on their journey in the wilderness for some crazy adventures. On the way, Mumble learns that there is a threat to their food source (posed by humans of course), and sets out to communicate with those who are threatening their home land. In an interesting twist, Mumble is captured and put on display in a watery zoo, and eventually, through his tap-dancing, communicates with the humans and is able to restore the natural order, eventually earning him the right to return to Emperor Land.

What makes all of this so interesting is that you’re getting the point of view of the animal/bird/creature; quite often we see animals in zoos and what not, and we take for granted that they were taken from their habitat and put on display for our curiousity and amusement. It makes for an intriguing theme, with a nice conservation message in the middle, making the film somewhat more than just your average kid flick.

Of course, being a Hollywood CGI fest, there has to be lots of celebrity voices but they all deliver in spades. Robin Williams in particular is on fire again, this time playing two characters who play crucial roles in Mumble’s eventual success. In addition to the great talent, director George Miller has created some incredibly spectacular imagery. The film has a very strong visual scope, giving an almost epic feel to the film at times.

This is a highly entertaining film; it has a weak beginning but the second half of the film more than makes up for it.

Author: Alex Demattia
Article Source: EzineArticles.com
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Tom Hanks delivers one of his best performances as the simpleton Forrest Gump. He plays the character with an almost cavalier approach to all the extraordinary things that happen to him; however there’s nothing cavalier about it. All these big things like meeting Presidents, representing the national Table Tennis team in China, serving in Vietnam, becoming a millionaire through the Bubba-Gump Shrimp Corporation, or even being on the All-American football team thanks to his fantastic running ability in college football, they’re just not as important to him as his ‘Momma’ (Sally Field) and childhood sweetheart ‘Jenny’ (Robin Wright Penn). It’s through his character that we get an appreciation for the idea that life isn’t about the glitz, glamour and riches, but it’s about the relationships you have with the people you care about and how you shouldn’t trade away who you are to fit in or to sell out. This theme is delivered strongly through Gump’s trademark black and white simpleness, or as he says a couple of times in the film, “stupid is as stupid does.”

The technical feats accomplished in this film are quite fascinating and extremely well done. Through the use of archival footage and some clever green screen work, Gump is integrated in to images with big historical figures such as Elvis Presley, JFK, Richard Nixon and a host of others without any blemishes or any sense that it’s not seamless. At times you might wonder how realistic it is for a person like Gump to meet all these people but this film works in many ways like a fantasy; but it’s a fantasy that could become real. If Gump can do it, any one can. Zemeckis and his team deserve special credit for what they’ve achieved here and demonstrate successfully how good CGI doesn’t always stand out, but it blends in with everything else to the point where you don’t notice it.

The opening shot best sums up the larger theme of the film which deals with the question, do we have a destiny or are we floating around accidentally like a leaf in the wind? With a leaf descending from the sky, gently brushing over different people and things before resting at the feet of Gump, we get a visual representation of how this whole thing seems to work. Maybe as Gump says, “maybe it’s both working at the same time.” Perhaps one of Gump’s most potent philosophies, even though he doesn’t realise it himself, is that he is open to whichever way the wind decides to take him. This theme is also realised in the character of Lt. Dan (Gary Sinise) who has to come to terms with the fact that the destiny he believed he would always have doesn’t ultimately occur; it’s not until he accepts his lot that he can find true peace and happiness. Although it’s not necessarily a dream for life (Dan wanted to die on the battle field like his forefathers), there is an interesting message here about allowing yourself to be open to other possibilities because you never know where life might take you; it might even be to places you’d never dreamed of and could even be better than you hoped.

“Forrest Gump” is an uplifting film which imparts the notion that anything in life is possible, and despite its nostalgic, sugary execution, is a strong, memorable film.

Author: Alex Demattia
Article Source: EzineArticles.com
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Cast & Credits

Robert Neville: Will Smith

Anna: Alice Braga

Ethan: Charlie Tahan

Zoe: Salli Richardson

Marley: Willow Smith

Warner Bros. presents a film directed by Francis Lawrence. Written by Mark Protosevich and Akiva Goldsman. Based on the novel by Richard Matheson. Running time: 114 minutes.

Take 28 Days later, throw in some Cast Away, add a good measure of Will Smith and you’ll have a steaming pot of I am Legend. Serves 200.

This movie is entertaining, to say the least. It throws in everything you would want from a post-apocalyptic zombie film. The claustrophobic darkness, spectacular angles of a now empty but otherwise well-populated city, the loneliness, the strict routines to avoid the zombies, the dismay of a friend turning into a creature of the dark and last but not the least, the possibility of cure.

And if you think there should’ve been a spoiler warning on the above paragraph, think again. You knew this was what the movie would’ve been about, anyway. They’re all the same. If someone told me that I am Legend was a remake of 28 Days Later, I’d believe them. In fact, I’d say it’s about time they stopped making zombie flicks. They’re running out of ideas.

What does set I am Legend apart, though, are the questions that pop up in your head once the credits roll. Questions like… what are the odds that a scientist working for the government ends up being the sole survivor? And what are the odds that out of all the people in New York, he’s the only one who is immune to the airborne virus? What are the odds that he has an inexhaustible supply of ammo? And why can’t Will Smith graduate to better movies? The answer lies in a sound effect that is spelt K-A-C-H-IN-K-!! (Yes, the exclamation marks are part of the spelling).

So to put it simply, I’d believe someone who told me that I am Legend was a bad remake of 28 Days later. But anyway – for those of you who like pop corn entertainers, this one’s a must see. Great action sequences, very realistic CGI and some really intense acting put this film on the right track. And on another note… I’ve got to hand it these guys – New York never looked so beautiful on celluloid before.

Author: Prem Shashi
Article Source: EzineArticles.com
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Starring: Peter Dinklage, Anna Popplewell, Ben Barnes, Georgie Henley, Skandar Keynes

Directed By: Andrew Adamson

Running Time: 2 hr. 20 min.

MPAA Rating: PG for epic battle action and violence.

Genre: Fantasy, Adventure

In the next installment of The Chronicles of Narnia, it has been 1,300 hundred years since the four Pevensie children left Narnia. Since then, the Telmarines have invaded the country and sent the few remaining Narnians into hiding. Prince Caspian (Ben Barnes), the heir to the Telmarine throne, has been usurped by his evil uncle Miraz. When Miraz attempts to kill Caspian, the Prince escapes into the forest where he meets and befriends the Narnians. When they discover that Miraz is planning an attack on the forests, their only hope of salvation is to call upon the “kings and queens of old” with an ancient horn. When they do so, they magically transport Peter (William Moseley), Edmund (Skandar Keynes), Susan (Anna Popplewell), and Lucy (Georgie Henley) back to Narnia. But even though so much time has passed in Narnia, the Pevensie children have only aged one year in their time and the Narnians aren’t convinced that four mere children will be able to save them from an army of full-grown men.

Prince Caspian is definitely a more mature film than its predecessor. The acting, landscapes, special effects…everything has grown up in this sequel. The author, C.S. Lewis, was adamantly against film portrayals of literature, which is understandable considering the lack of effects available during his lifetime. But after the first ten minutes of the movie, I found myself smiling and thinking that Lewis would have been proud of how director Andrew Adamson brought the magical land of Narnia to life. However, I do not think Lewis would have been happy with some of the additions Adamson made. Prince Caspian, the book, is just as light-hearted as the first film, but Adamson decided to make the movie a dark and epic adventure, creating a deeper back story for the Pevensies and the Narnians, and including more mature and intense themes.

Adamson took the liberty to include full battle sequences that did not take place in the book. I understand his motives–if he had stuck perfectly with the plot of the book, it would have been a yawn for most moviegoers. But there was something different about the battle scenes…something that set it apart from the war sequences of Lord of the Rings or even the battle scene from The Lion, the Witch, and the Wardrobe. There’s just something uncomfortable about watching teenagers (and CGI mice) plotting war and killing people. It left me feeling a bit unsettled. It isn’t quite the form of entertainment I would normally choose for myself.

PROS

Even though the battle scenes were unsettling at times (most of the time they were quite riveting), they do happen to show the tragic cost of war. Instead of seeking out Aslan’s help, Peter takes it upon himself to plan the battles. Everything goes wrong that could go wrong and many Narnians are killed because of it. Young viewers will understand that real-life war strategies are not just plans sketched out on paper, nor are they tactics in video games. They involve real soldier’s lives.

Peter learns this lesson a bit too late. When they finally do seek Aslan out, hundreds of Narnians have lost their lives. They might have been spared if the children had asked for the help of an authority figure, instead of trying to fix things themselves.

I also enjoyed the struggle that the Pevensie’s faced between being adults and being children. It’s something we all struggle with, adolescent or not. There should be an equal balance to our decision making, taking into consideration both mature reasoning and childlike faith. Being either too much one way or the other can cause grievous errors in judgment. Peter’s insistence that he was mature enough to plan the battles himself caused lives to be lost, and Lucy struggled to appear more mature in her siblings eyes by doubting whether or not her vision of Aslan had been real or just her childish imagination.

CONS

Parents should know that there are a lot of animals killed in the film. There is an especially intense scene where a wild bear, that is about to attack lucy, is shot and killed with an arrow. There are some scary battle sequences where both men and animals are slain. While virtually half of the film revolves around war, no blood or gore is shown.

One of the dwarves tells someone to shut up, but other than that, there is no crude or foul language.

Purists or fans of the books might be upset to find that Susan kisses Prince Caspian at the end of the film. I guess Adamson wanted to show more of the mature/childlike struggle by throwing in a thread of romance (which is almost completely void in the Narnia books) but it was a bit disappointing and distracting to me, though teenage viewers might enjoy it.

OVERALL

Most of the demographic in the audience will be teenagers, and Prince Caspian is one of the cleaner films of the summer. For that I highly recommend it. Parents and children alike should be able to enjoy the film together, but small kids might be frightened by the battle sequences. Dedicated Narnia fans won’t be dissuaded by Adamson’s take, and newcomers should find the film gripping and entertaining.

Author: Megan P.
Article Source: EzineArticles.com
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