Prince Caspian, the second entry in the Chronicles of Narnia series, is a glorious medieval war movie. It's about war as the ultimate pitch of conflict that tries men's souls, and women's, too, in director-co-writer Andrew Adamson's liberated, post-feminist rendering of C.S. Lewis' novel.
The battle between good and evil couldn't be more clearly drawn. But the movie also depicts the fluidity of change in every sphere of life, public or private, from a household of siblings to a civilization nearing Armageddon. The Pevensies, the four children from The Lion, the Witch and the Wardrobe, return from England to their beloved fairy-tale kingdom of Narnia. They find it under the boot of a human race called the Telmarines, who invaded it centuries earlier and have attempted to exterminate its native creatures of wonder: dwarves, Minotaurs, fauns, satyrs, centaurs and talking animals of all species.
