movie review the chronicles of narnia

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The Chronicles of Narnia: The Lion, the Witch and the Wardrobe

Where to watch.

Watch The Chronicles of Narnia: The Lion, the Witch and the Wardrobe with a subscription on Disney+, rent on Prime Video, or buy on Prime Video.

What to Know

With first-rate special effects and compelling storytelling, this adaptation stays faithful to its source material and will please moviegoers of all ages.

Critics Reviews

Audience reviews, cast & crew.

Andrew Adamson

Tilda Swinton

Jadis The White Witch

Georgie Henley

Lucy Pevensie

Skandar Keynes

Edmund Pevensie

William Moseley

Peter Pevensie

Anna Popplewell

Susan Pevensie

Movie Review: The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)

General Disdain
Movie Reviews
2 responses
--> January 2, 2006

Although, I had never actually read the book,”The Chronicles of Narnia: The Lion, the Witch and the Wardrobe,” I had heard a great many good things about it. So, I had high expectations going in to see this movie.

The Chronicles of Narnia: The Lion, the Witch and the Wardrobe depicts four brothers and sisters (two each) torn from their home in London during WWII sent to live with a distant relative in the country. It is here they learn the concepts of family, love and understanding.

Visually, this movie is magnificent. The initial wintry snowscape of Narnia is a wonder to see. Equally impressive is the springtime views. Above all else, the character animations of the all the creatures is well above par. Aslan, the lion, is extremely lifelike, as are all the other inhabitants of Narnia. I was initially skeptical, if the producers could pull this off, but the CGI is as good as “The Lord of Rings” trilogy.

However, the movie isn’t only about the visuals. There is content. Luckily, the movie doesn’t fall short there either. Initially, the children look to Narnia as an escape from the realities of war. Instead, they come to the gruesome discovery that evil abounds everywhere, and at all costs it needs to be stemmed. It is here the eldest brother steps up to the plate and bonds his family together (even after treachery), and along with Aslan, aids in the battle against the White Witch.

Another pleasant surprise was performances by the cast. Especially, Georgie Henley. She plays Lucy, the youngest daughter, and is a delight to watch. Her expressions and convincing actions, alone make this movie worth the watch. Likewise, Tilda Swinton (the White Witch), portrays a cunning, evil-to-the-bone tyrant splendidly. Just looking at her made my skin crawl.

What more can be said? The Chronicles of Narnia: The Lion, the Witch and the Wardrobe is a movie that deserves to be seen. At the very least, you will be entertained by the Good vs. Evil battle scenes and stunning visuals. At the most, the movie will remind you of your childhood, and bring back great feelings and memories.

Tagged: children , kingdom , magic , novel adaptation

I'm an old, miserable fart set in his ways. Some of the things that bring a smile to my face are (in no particular order): Teenage back acne, the rain on my face, long walks on the beach and redneck women named Francis. Oh yeah, I like to watch and criticize movies.

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'Movie Review: The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)' have 2 comments

July 21, 2007 @ 6:57 am Skinny

Visually beautiful movie, but I was somehow disturbed by the messiah references in the end.

June 21, 2008 @ 1:45 am Ojay

Yes, a visual masterpiece. However, the theme is a bit creepy and I wouldn’t recommend any kid under eight to watch this movie. Narnia seems to mix prophecy with fairy tale and I agree with Skinny about the messiah references…a little much.

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The Chronicles of Narnia: The Lion, the Witch and the Wardrobe

C S Lewis's classic of children's fantasy literature, to which six instalments of steeply declining interest and power were added, has now been brought to the screen by Andrew Adamson, of Shrek fame. The result is a triumph. It is gorgeous to look at, superbly cast, wittily directed and funny and exciting by turns. It unfolds the slim book into a rich visual experience that is bold and spectacular and sweeping, while retaining its human intimacies. I can't see how it could be done better. Perhaps Mel Gibson would have preferred Aslan to be whipped with barbed wire for 30 minutes before the main event, but Adamson handles it with finesse.

There will be many adults like me, who after loving the book as children went through a long post-adolescent phase of hysterically repudiating it after the Christian-humanist parable was explained. For me, it is a phase that this movie has definitively brought to an end. Adamson brings out the story's romantic gallantry and its wonderfully generous approach to childhood. For all the rhapsodic seriousness, and Blakean associations of England with Christianity, the film has a lightness of touch.

Simply by having human beings as characters, The Lion, the Witch and the Wardrobe is different from Tolkien and his heavy-footed myth - though, naturally, there is a connection, and Adamson sensibly builds on Peter Jackson's technical achievements in staging and narrative. What the director has done is bring it closer to the playful gravity of Lewis Carroll, and also the insouciant escapades of the young quartet in Enid Blyton's Adventure series.

As all the world knows, this is the story of four middle-class children in the second world war, whose father is away fighting the evil of Nazism. They are evacuated from Finchley, in London, to a country house, which is here increased to the size of a gigantic mansion, presided over by an apparently crotchety but actually very decent old boy, played (rather too fleetingly) by Jim Broadbent. The youngest of the children, Lucy - a scene-stealer of a performance from newcomer Georgie Henley - plays hide-and-seek with her boisterous siblings and leaps into a wardrobe, pushing through a dense mass of furs that become firs (as in a Freudian dream). She stumbles out into a snowy forest in the land of Narnia, in whose snowflake-swirl a gaslight dimly glows.

The place is under the spell of the evil White Witch, who has caused it to remain forever "winter without Christmas", until liberated by the four saviour-children under the command of the lion Aslan, a redeemer figure voiced by Liam Neeson. With the help of friendly beavers, spoken by Dawn French and Ray Winstone, and a droll, worldly fox (Rupert Everett), the children fearlessly embrace their destiny. The battles unfold like a richly coloured tapestry, with art direction inspired by the fluttering pennants and tented encampments of Olivier's Henry V.

Tilda Swinton plays the White Witch, and it is her finest hour. She has always been as much icon as actor, a kind of living, breathing installation - and therefore difficult to cast, especially in a modern setting. But her statuesque hauteur and that otherworldly presence are sublimely right here. Her white-fringed, padded-shoulder gown reminded me of the queenly Aquascutum outfit Mrs Thatcher wore in Paris on the fateful night of her leadership vote in 1990.

Swinton has a particularly good opening scene, in which the White Witch tempts young Edmund (Skandar Keynes) into betraying his friends with an insidious, addictive dollop of Turkish Delight. Keynes is very persuasive as the venally weak Edmund: a figure traditionally glossed as Judas, although there is something more recognisable and English about Edmund's failure. Later, the White Witch is to sneer at the captured faun Mr Tumnus (James McAvoy) that his fellow captive Edmund "turned you in for sweeties". That line reminded me, not entirely ironically, of Winston Smith and Syme in Orwell's Nineteen Eighty-Four, and how wickedness and wretchedness can be found beneath the surface of English decency. The final sacrifice of Aslan is conveyed with absolute seriousness, yet never feels preachy.

The Lion, the Witch and the Wardrobe is a miraculously complete, digestible epic in itself, and I wonder if annual episodes of the succeeding six stories, in which Lewis boxed himself into an ever-narrowing theological corner, might be rather heavy weather - especially as the children will presumably need to be recast. This is more than good enough to be going on with. There is no need for anyone to get into a PC huff about its Christian allegory. With this movie's buoyant fun, Adamson provides something akin to the sense of humour Graham Greene said he needed in order to believe. Although you don't need to believe in a fairytale to find it enchanting.

· Released next Thursday.

Tilda Swinton
Chronicles of Narnia

The Chronicles of Narnia: The Lion, the Witch and the Wardrobe

Michael Madsen, Liam Neeson, Dawn French, Jim May, William Moseley, Anna Popplewell, Cameron Rhodes, Tilda Swinton, Ray Winstone, Skandar Keynes, Shane Rangi, and Georgie Henley in The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)

While playing, Lucy and her siblings find a wardrobe that lands them in a mystical place called Narnia. Here they realize that it was fated and they must now unite with Aslan to defeat an ev... Read all While playing, Lucy and her siblings find a wardrobe that lands them in a mystical place called Narnia. Here they realize that it was fated and they must now unite with Aslan to defeat an evil queen. While playing, Lucy and her siblings find a wardrobe that lands them in a mystical place called Narnia. Here they realize that it was fated and they must now unite with Aslan to defeat an evil queen.

Andrew Adamson
Ann Peacock
Christopher Markus
Tilda Swinton
Georgie Henley
William Moseley
1.6K User reviews
221 Critic reviews
75 Metascore
18 wins & 46 nominations total

White Witch

Lucy Pevensie

Peter Pevensie

Edmund Pevensie

Susan Pevensie

Professor Kirke

Father Christmas
Mrs. Pevensie

Mrs. Macready

General Otmin
Boy on Train
Girl on Train
Train Conductor
Distraught Mother
(as Shelley Edwards-Bishop)
All cast & crew
Production, box office & more at IMDbPro

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The Chronicles of Narnia: Prince Caspian

Did you know

Trivia Georgie Henley 's reaction to Mr. Tumnus at the lamppost is genuine. She had not seen her castmate James McAvoy in his costume before filming the scene, so her screams and reactions were real. Georgie's first reaction to the snowy world of Narnia is also genuine. She was carried into the set blindfolded to make her first entrance, and her wide-eyed, delighted reactions to it all were entirely her own.
Goofs When the children are running around in the house trying to find a hiding place while playing hide and seek, Lucy's dress changes from purple to brown.

Aslan : [almost in a roar] Do not cite the Deep Magic to me Witch. I was there when it was written.

Crazy credits There is a further brief scene with Lucy and the Professor after the initial cast credits.
Alternate versions German theatrical version (non-digital) was cut for violence to secure a "Not under 6" rating. Digital presentations were uncut (with a "Not under 12" rating). On DVD, both versions were released (standard DVD was cut, collector's edition was uncut).
Connections Edited into Nostalgia Critic: Black Cauldron (2019)
Soundtracks Oh Johnny Oh, Johnny Oh! (1917) Music by Abe Olman Lyrics Ed Rose Performed by The Andrews Sisters Courtesy of Geffen Records Under license from Universal Music Enterprises

User reviews 1.6K

TheLittleSongbird
Jun 9, 2009
What is 'The Lion, the Witch and the Wardrobe' about?
Is "The Lion, the Witch and the Wardrobe" based on a book?
Why does the wardrobe provide a gateway to Narnia?
December 9, 2005 (United States)
United Kingdom
United States
Official site
Stream The Chronicles Of Narnia officially on Disney+ Hotstar Indonesia
Brazilian Sign Language
The Chronicles of Narnia
Adrspach National Park, Trutnov, Czech Republic (winter forest scenes)
Walt Disney Pictures
Walden Media
See more company credits at IMDbPro
$180,000,000 (estimated)
$291,710,957
$65,556,312
Dec 11, 2005
$745,013,115

Technical specs

Runtime 2 hours 23 minutes
Dolby Digital

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Movie Reviews

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The "Chronicles of Narnia" movies take place in several worlds simultaneously. The magical fantasy land of the title is grounded in ancient Greco-Roman mythology, ruled by sorcery and superstition, and populated by centaurs, minotaurs, fauns, gryphons, talking mammals, tree spirits and such. The Pevensie kids are homo sapiens children of WW II England, though they spend most of their screen-time (and alternate lives) in Narnia, where they are royalty.

C.S. Lewis wrote the novels in the post-war United Kingdom, between 1949 and 1954. And the pictures themselves are the products of a globalized 21st-century economy dominated by multinational conglomerates like the Walt Disney Company. All of these influences can be felt in the first two "Narnia" films, " The Lion, the Witch and the Wardrobe " (2005) and the latest, "Prince Caspian" (2008).

With bigger battles and scarier monsters than its predecessor, the new movie flaunts grander visual effects, and, with one notable exception, a dash more individuality than the initial installment. Thanks are due to supporting appearances by a diminutive Narnian named Trumpkin ( Peter Dinklage , whose eyes have to do all the work underneath those flowing whiskers and latex wrinkles) and a fearless feather-sporting mouse named Reepicheep (voiced by Eddie Izzard with flair, and without overacting).

The keepers of the franchise should also be delighted that the actors playing the Pevensie children have aged so gracefully over the last three years, or 1,300, depending on how you're counting. You never know when somebody's going to go through an awkward stage, but these kids have only grown more photogenic with time.

As for the other visual effects: While most of the CGI in "Wardrobe" was passable, some dialog scenes with the children displayed what looked like surprisingly sloppy green-screen work, especially for such a mega-production. (Hasty re-shoots, perhaps?) This time, the great lion Aslan (voiced deeply but rather blandly by Liam Neeson ) is still too much of a cuddly plush toy from the vanished kingdom of F.A.O. Schwartz, but some of the other sights are thrilling, notably a floody encounter with Poseidon/Neptune, and some mobile trees that could make Birnam Wood come to Dunsinane in a jiffy. These are no doubt highly sophisticated technical and artistic achievements, but they retain some of the simplicity and charm of Ray Harryhausen's pioneering stop-motion creations.

If you've read the novels (I haven't), you already know that your favorite characters from the first movie, like Mr. Tumnus the Faun and Mr. and Mrs. Beaver, will not be returning. "Prince Caspian" takes place centuries after the vanquishing of the titular witch in part one. As part two begins, the persecuted Narnian diaspora has been driven deep into the woods, and allegedly to the brink of extinction, by usurper Telmarine King Miraz ( Sergio Castellitto ).

It is never quite clear, though, who exactly the Narnians are . They're definitely not a species or a race because they include leopards, badgers, dwarves (they're called "dwarves" in the credits, not "little people"), giants, rhinoceroses, unicorns and mice (many of whom are conversant in English) -- but not , as you may recall from the first film, tigers, wolves, cyclopses, miniature Huns or two-legged yaks, all of whom are unaccountably but virulently anti-Narnian.

Now it's Prince Caspian ( Ben Barnes , with his indefinable Mediterranean accent -- more Spanish than Italian) who must return from exile to claim the throne, and although he's a Son of Adam (human), he's not a Narnian, he's a Telmarine. And we don't really know what that is, either. Unfortunately -- since he figures prominently in the next two installments as well -- Caspian registers as little more than a pretty vacancy in his debut outing. The time spent on his story, and the political backstabbing at the dark and dreary royal court, involving bearded lords and generals who all run together in a swarthy stew, feels like expositional padding, and there's too much of it in this nearly two-and-a-half-hour movie.

When the film initially plunges us into the Caspian story (the prince's daring escape from his uncle's castle on the night Miraz's wife delivers him a male heir), its strategy is unclear: Are we being introduced to a new character because we're supposed to care, or are the filmmakers just toying with us, delaying the gratification of seeing the Pevensie siblings? All of the above, probably. In wartime London, the formerly cranky and petulant Edmund ( Skandar Keynes ) has become a trusty backer of his testy older brother Peter ( William Moseley ), who resents being a regular teen again after having already lived to adulthood as golden-boy High King of Narnia. Susan ( Anna Popplewell ) is learning to fend off nerdy smitten schoolboys, and Lucy ( Georgie Henley ) has developed poise and grace to complement her natural curiosity. It will be up to them to help Caspian defeat Miraz and restore the monarchy.

As directed by Son of Adam Andrew Adamson (the " Shrek " series), the "Narnia" movies are mostly about the plot and the effects, not necessarily in that order. They are serviceable spectacles, but don't approach the mythic grandeur and resonance of more grown-up films like John Boorman's " Excalibur " or Guillermo del Toro's " Pan's Labyrinth ."

And in part that's because character is not destiny in the "Narnia" pictures. Destiny is. Which creates some moral and dramatic dilemmas for the viewer. With all the dramatis personae Lewis has crammed into his filagreed fantasies, few of the players have the opportunity to leave much of an impression, or acquire significance, beyond what the tale demands of them. (Who's that badger again?) They do what is asked of them -- in the story and by the story. And once we realize that even the leads are predestined to play their parts in fulfilling prophecies, and that all they have to do to meet the requirements is to abide by (or guess) whatever certain mystical authority figures want them to do, the tension deflates a bit.

The moral options, as set forth in the movies so far, are fairly clear-cut: believe the beautiful lion and the friendly beavers; don't trust the sepulchral ice queen bearing Turkish Delight or the hideous dark demons extolling the forces of hate. What could be simpler? A child could do it. And what kind of lesson does that communicate to the child who can? That it's easy to tell right from wrong? Not a wise maxim.

What responsibilities do the Sons of Adam and Daughters of Eve (how does that work?) bear for their own decisions, and the consequences of their actions, if everything can eventually be set right by some deus ex machina -- the healing properties of supernatural potions, or the corrective powers of magic lion's breath? What becomes of free will, of meaning itself?

"Prince Caspian" represents a slight moral advancement over its predecessor in that hubris does have catastrophic consequences -- though mostly for extras and bad guys. Hundreds die needlessly because their reputed leaders put too much stock in their own invincible status, but the price paid is never too dear, at least not for anybody you become accustomed to seeing onscreen.

The larger question remains: Why, really, do the Narnians need some anti-democratic, monarchy-loving European Son of Adam to lead them, to protect them, to fulfill their prophecies? (Think of Dennis the repressed anarcho-syndicalist peasant in "Monty Python and the Holy Grail": "You can't expect to wield supreme executive power just because some watery tart threw a sword at you!") Why can't the Narnians just lead themselves?

There's an obvious candidate for the job here -- a towering black centaur named Glenstorm (Cornell S. John), possessed of a noble bearing unsurpassed in Narnia. (He doesn't move as gracefully as he ought, but that fault lies with the effects crew and not with the character.) Now this charismatic fellow is a natural leader, a prophet, and a mesmerizing public speaker to boot. When he talks, you listen. He could also kick the pudding out of Peter or Caspian with both arms behind his back (and still have four legs to stand on!). Sadly for him (and us), his fate was decided a long time ago... by an Irish writer who dwelt in England's green and pleasant land.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film Credits

The Chronicles of Narnia: Prince Caspian movie poster

The Chronicles of Narnia: Prince Caspian (2008)

Rated PG for epic battle action and violence

150 minutes

Ben Barnes as Prince Caspian

Georgie Henley as Lucy Pevensie

Skandar Keynes as Edmund Pevensie

William Moseley as Peter Pevensie

Anna Popplewell as Susan Pevensie

Sergio Castellitto as King Miraz

Peter Dinklage as Trumpkin

Warwick Davis as Nikabrik

Eddie Izzard as Reepicheep

Directed by

Andrew Adamson

Screenplay by

Christopher Markus
Stephen McFeely

Based on the novel by

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'the chronicles of narnia', a. o. scott reviews "the chronicles of narnia: the lion, the witch and the wardrobe," based on the book by c. s. lewis..

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The chronicles of narnia: prince caspian, common sense media reviewers.

Tween-friendly adaptation is darker than the first.

The Chronicles of Narnia: Prince Caspian Poster Image

A Lot or a Little?

What you will—and won't—find in this movie.

The kings and queens of old, as well as Caspian, f

Caspian is tempted by revenge, and Peter's pride l

Lots of swordfights and battles, some of which get

Some mild flirting; a single tender kiss at the en

"Shut up" and "idiot" are used a few times.

Positive Messages

The kings and queens of old, as well as Caspian, fight for what is good and true -- despite many acts of betrayal, deceit, and attempted murder. The Telmarines are determined to exterminate the Narnians, whom they regard as inferior and strange, but their point of view is presented as clearly wrong.

Positive Role Models

Caspian is tempted by revenge, and Peter's pride leads to disaster, but everyone sees the error of their ways in the end. For the most part, girls are portrayed as courageously as the boys -- though in one scene, a girl needs to be rescued by her prince.

Violence & Scariness

Lots of swordfights and battles, some of which get pretty brutal. There's not much gore or blood, but there's tons of hitting, lancing, pushing, screaming, clubbing, and stabbing. Many characters are shot with arrows (not much blood shown). One particular one-on-one duel is quite intense and stretches out for some time, and many of the shots are filmed up close. Most of the main characters (including Peter, Edmund, and Susan) dispatch many of their enemies with swords, arrows, and more. There's also lots of discussion of war strategy, and the "bad" guys seem particularly vicious when talking about how to vanquish the Narnians.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Some mild flirting; a single tender kiss at the end.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Parents Need to Know

Parents need to know that this sequel to the enormously popular The Lion, the Witch and the Wardrobe has more dark moments than the first movie. It broods on the nature of deceit, greed, and hunger for power. It also has a brutal one-on-one swordfight (some of the shield slams may leave even adults cringing) and extensive battle scenes that are portrayed as bone-crunching, metal-clanging, sword-lancing riots. All of the main characters, except Lucy, are responsible for many enemy deaths. That said, it's all relatively blood-free: Though characters are pierced by arrows and swords and fall to the ground (many are injured, and some do die), little gore is shown besides the odd cut on the lip or cheek. Younger viewers may notice and be unsettled by the menacing tone throughout most of the movie -- including a scary appearance by the White Witch -- though it's relieved fairly frequently with funny asides from the characters. While not overt, the movie includes Christian imagery and allegorical storylines, and the characters learn clear moral lessons by the end. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Community Reviews

Parents say (21)
Kids say (77)

Based on 21 parent reviews

It didn't follow the book

"prince caspain" not king of the narnian movies. and this movie should have been pg-13, what's the story.

THE CHRONICLES OF NARNIA: PRINCE CASPIAN starts with a bang -- or, rather, a wail -- and doesn't let up from there. When a baby son is born to Miraz (Sergio Castellitto), his nephew, Prince Caspian (Ben Barnes) must flee for his life: Miraz wants the throne, and now that he has an heir, he's out for blood. Caspian heads for the enchanted woods on horseback, Miraz's henchmen in hot pursuit -- in dire need of help, he blows an ancient, magical horn, summoning back the kings and queens of old (who, at the moment, are stuck in a London subway station). And so the Pevensie siblings -- Peter ( William Moseley ), Susan (Anna Popplewell), Lucy ( Georgie Henley ), and Edmund (Skandar Keynes) -- return to Narnia, hundreds of years after they left. Can they save Caspian and Narnia from Miraz and his Telmarines? And where is noble lion Aslan when you need him?

Is It Any Good?

PRINCE CASPIAN is lots of fun even if you're not a fan of C.S. Lewis ' Narnia books. (In fact, it may be better not to be one in this case, as purists are likely to balk at some departures from the text.) Caspian doesn't offer as much whimsy as the first installment, dealing instead with darker matters -- notably that of Caspian's fight to keep his throne, which is wrenched from him by his scheming, power-mad uncle. The Narnians, under siege by the Telmarines, are rougher around the edges this time, too; they're more cynical and tired of persecution. To win their freedom, they must fight -- often, and sometimes to their death.

Still, thanks to well-paced moments of levity -- many of them instigated by swashbuckling mouse Reepicheep (voiced impeccably by Eddie Izzard ) -- the long journey (the film clocks in at over two hours) doesn't lag too much. (Some jokes do jar, taking you out of the time period; the kids, for instance, refer to one of the dwarves as "DLF," for "dear little friend," which, although it's straight from the book, somehow sounds a little text message-y.) Director Andrew Adamson keeps the fight scenes taut and swift, though one less skirmish or two could have gone a long way toward preventing battle fatigue. But fine work from the cast (particularly Henley) helps make up for this, as does the breathtaking scenery. You'll be ready to book your own Narnia adventure by the time the credits roll.

Talk to Your Kids About ...

Families can talk about whether this film is faithful to the book -- both in spirit and in plot. What was changed? Why do you think the filmmakers strayed from the original story? Which do you like better, and why?

Why do you think Aslan is seen at first only by Lucy. Are there religious/Biblical overtones to her belief in him? What does he mean when he says "Nothing happens the same way twice"?

How do Caspian and Peter handle sharing leadership duties? Are they successful? If not, how do they resolve the issue?

Movie Details

In theaters : May 16, 2008
On DVD or streaming : December 1, 2008
Cast : Ben Barnes , Georgie Henley , William Moseley
Director : Andrew Adamson
Inclusion Information : Female actors
Studio : Walt Disney Pictures
Genre : Fantasy
Topics : Magic and Fantasy , Adventures , Book Characters
Run time : 147 minutes
MPAA rating : PG
MPAA explanation : epic battle action and violence
Last updated : May 4, 2024

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[The Chronicles of Narnia]: A Review

Hi y’all!

I am thrilled to be publishing my review of The Chronicles of Narnia by C. S. Lewis. I’ve been thinking a lot about this review and how to synthesize a series that means so much to me and many other people. These books can be many things from simply enjoyable to life changing. They can inspire us to read more fantasy, more by C. S. Lewis or perhaps more religious works.

I decided to share my review more in the style of my Harry Potter and The Lord of the Rings reviews where I assume that my readers have some experience already with Narnia and are familiar with the basics of the stories. These three series represent much of my childhood and beginning love for reading. So forgive me if I wax a bit overly poetic in my discussion of this favorite.

The Chronicles of Narnia by C. S. Lewis showcase the entire history of the magical land of Narnia and the several children from our world that helped shape it’s destiny. According to Goodreads, “Journeys to the end of the world, fantastic creatures, and epic battles between good and evil—what more could any reader ask for in one book? . . . . For the past fifty years, The Chronicles of Narnia have transcended the fantasy genre to become part of the canon of classic literature. Each of the seven books is a masterpiece, drawing the reader into a land where magic meets reality, and the result is a fictional world whose scope has fascinated generations.”

This series really is one story with seven parts.

These books are not meant to be read alone. Each story is so connected to the others. I found that it was impossible to separate them as the whole is definitely greater that the sum of the parts. It was fantastic to read them all within about 6 weeks of each other because I had all the details bouncing around my head as I read. Like The Lord of the Rings , this series’ power and poignancy comes in the collection of all the stories together.

Favorite Characters:

Edmund has always been one of my favorite Narnian characters. I love his transformation through the series and the wisdom and loyalty he exudes.
Lucy is impossible not to like. Her faith, innocence, and courage are just lovely. And I admire her ability to always see Aslan and her deep love for Narnia.
Caspian goes on a beautiful journey as well through the series from unsure leader to sea faring King. I loved getting to know him better in several books and seeing the ways he changed Narnia for the better despite setbacks.
Eustace was a fun character to see develop in Narnia. I felt a range of emotions in reaction to him but I love where he ends–with a determination to fight for Narnia despite his fears.
I loved the combination of Shasta/Cor and Corin because they are such different characters yet were both likable. Shasta is a favorite of mine because he has courage to do good despite never learning the importance of courage.
Digory reminds me quite a bit of Edmund. He makes a nearly fatal mistake but learns from it and is able to be better, wiser for it. I love that we get to see him later in the series and see that he stays true to Narnia.
There are so many great Narnians to love! Puddleglum is such a fun character! Everything he says is so great. I laughed out loud several times at his dismal outlook on the world. But when all looks lost, I want this Marshwiggle by my side! Tumnus is the first Narnian we are introduced to and I love him from the moment he decides to be Lucy’s friend instead of her enemy. I also enjoyed Trufflehunter , Trumpkin (the DLF!), the Beavers, and Reepicheep who is potentially the only mouse I would truly like to meet. He is just a fantastic character from his intense loyalty and courage to his desires to see Aslan’s country. I also loved Puzzle because he is so kind and wants to good. Although his naivete is frustrating at times.

c-s-lewis-hes-wild-you-know-not-like-a-quote-on-storemypic-21bc6

A Few Thoughts on Aslan:

Aslan deserves a separate place in my review because he is my favorite character in ways no other could be. Naturally, he is a Christ figure in the series, and I was in awe of his creation, sacrifice, and judgment. I hope that when I see his face, I will feel the peace and strength that Lucy feels.
I found it fascinating to see how Aslan appears in each novel in the series. In LWW, he appears to everyone and everyone believes in him. In PC, it takes time for everyone to see him–only if they believe. In VDT, only a select few see Aslan. In SC, only Jill and Eustace seem to see him. In H&B, Shasta sees him several times but does not always realize it is Aslan. In MN, all see Aslan but react to him in varying ways. And finally in LB, Aslan’s identity is questioned although everyone has the opportunity to know him–but some choose not to.
The end of the series shows the potential to corrupt Aslan’s identity. We have some serious problems in the land of Narnia with the fake Aslan and combining of Aslan and the Calmoren God, Tash, into Tashlan. Some simply don’t believe in him at all. There are a lot of evil decisions and surprising betrayals. Hope seems lost several times. It’s fascinating to see the complexities in the land of Narnia and the way creatures and people view Aslan at the end of the world.
Aslan’s Country is intriguing and mysterious throughout the series. We get a glimpse of the mountains in VDT, Jill and Eustace travel to and from Narnia via Aslan’s Country in SC, and LD takes us into the heart of it. I loved the allegorical elements present there–rebirth, freedom from pain and suffering, and an understanding of Aslan himself.

Favorite Scenes from each book:

The Lion, the Witch and the Wardrobe: The First Christmas, Dinner at the Beavers, The end when Aslan defeats the White Witch. Also Turkish delight and tea at Tumnus’ cave.
Prince Caspian: I enjoyed the battle sequence and the way Aslan wakes up the trees and takes back Narnia.
Dawn Treader: The last part of the journey to the edge of the world, Overcoming the darkness island, Lucy and the magician, Eustace the dragon
Silver Chair: Escaping the giants,Leaving the underworld, Puddleglum’s heroics with the fire
Horse and his Boy: The whole story is fantastic. Shasta running to warn Archenland and meeting Aslan, Shasta and Corin switch places, Aslan at the victory feast
The Magician’s Nephew: The creation of Narnia ( a beautiful sequence showcasing Aslan’s power and goodness), the wood between worlds, and the creation of the lamp post
Last Battle: Inside the stable and introduction into Aslan’s country

What We Can Learn from Narnia:

I love the simplicity of this story and the truth that is layered throughout.
Good will ultimately triumph over evil. This doesn’t mean that evil has no power or will not destroy anything of importance. For example, Queen Jadis is able to trap Narnia in eternal winter for 100 years. But she never understands the deep magic. Aslan defeats her by his sacrifice. Or when Shift creates a fake Aslan that leads Narnians astray, he is ultimately defeated (and eaten). While there are sacrifices made, all is right in the end.
Power of Darkness. I was surprised the dark and almost depressing moments in the series. Rilian’s captivity shows the power that evil and darkness can attain and the loss that cannot be fully made right in this life. The betrayals of the dwarves in the final book are particularly dark as well.
Importance of strong personal belief. Throughout the series, we encounter characters with varying levels of faith.We have those who believe in goodness in Aslan, those who are seduced by dark magic, and those who are figuring out their beliefs somewhere in the middle. I love the focus on faith and loyalty. And I wonder how is my faith?
Aslan’s country and rebirth, overcoming darkness with light, Aslan’s sacrifice on the Stone Table, the great door of judgment, “further up and further in,” Aslan himself as the Lion and the lamb

Tips for reading The Chronicles of Narnia:

Read the full series in a short time! This allows the individual books to become one story in your mind. Plus, they are surprisingly short so it’s doable.
Read at least one novel out loud to someone else. These are great novels to share with your kids, your siblings, your friends, your parents–anyone! And I think they are even more magical read out loud.
Only watch the movie adaptation for The Lion, the Witch, and the Wardrobe . Don’t waste your time ruining characters with the others. You’re welcome.
Read the books in publication order, not chronological order. Why did we mess up Lewis’ original order? This was the first time I’ve read them in their publication order and I loved it! We get a new perspective on Narnia through the Pevensies’ eyes then see how Narnia was created and ended. This order focuses the on the connection between our world and Narnia.

The Narnia books are classics and favorites of mine for so many reasons. These books teach us the importance of faith, courage, strength and sacrifice. They are timeless for any reader young or old.

What do you love about Narnia? Do you prefer publication order or chronological order?

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DVD & Streaming

The Chronicles of Narnia: Prince Caspian

Action/Adventure , Drama , Kids , Sci-Fi/Fantasy , War

Content Caution

In Theaters

Ben Barnes as Prince Caspian; Georgie Henley as Lucy Pevensie; Skandar Keynes as Edmund Pevensie; William Moseley as Peter Pevensie; Anna Popplewell as Susan Pevensie; Sergio Castellitto as King Miraz; Peter Dinklage as Trumpkin; Warwick Davis as Nikabrik; Liam Neeson as the voice of Aslan

Home Release Date

Andrew Adamson

Distributor

Walt Disney

Movie Review

Fantasy lovers love allegory. And nobody’s known more for creating allegorical fantasy than C.S. Lewis.

So it’s to great anticipation that the second movie in The Chronicles of Narnia franchise (based on the fourth book in Lewis’ series of seven) arrives in theaters. Lucy, Edmund, Susan and Peter are a year older than they were in The Lion, the Witch and the Wardrobe , and they’re longing to return to the world that once made them kings and queens.

They get their wish while sitting on a train platform waiting to go back to school for a new term. They’re pulled into Narnia at the request of Susan’s magical horn of need, blown by Prince Caspian. Little do they know that Cair Paravel lies in ruins and 1,300 years have passed since their last visit.

Though he’s not a Narnian at all, much of this story revolves around the titular prince. Caspian is a Telmarine, a human race that has conquered Narnia and driven its diverse inhabitants to extinction. (Or so it is thought.) Caspian and other kids of his generation have been raised to believe that the old stories about Narnia, its magic, the White Witch and Aslan himself are fairy tales.

He comes face to face with the truth soon enough. The lad’s evil Uncle Miraz (having murdered Caspian’s father) only tolerates Caspian because he has no son of his own to inherit the throne. A baby boy changes that equation and Caspian flees for his life—straight into the deep woods that protect pockets of Old Narnians.

Enter the talking animals. Enter the magical horn. And enter the Pevensie kids. The result? War. Caspian and Peter lead their troops into battle against Miraz. At stake? The very soul of Narnia and the Narnians’ fading belief in Aslan.

Positive Elements

Old-fashioned heroes. That’s what makes Prince Caspian tick. Chivalry. Loyalty. Honor. Duty. Morality. Faith. Despite advice to the contrary from Edmund, Peter refuses to kill Miraz in a winner-take-all duel. Caspian has a harder time restraining himself, but he does the right thing, too. The children demonstrate their loyalty to Narnia time and time again as they set aside their own desires and needs for the greater good. They’ve been brought back to Narnia for a purpose, and they’re determined to discover it and fulfill it.

Susan and Peter save the dwarf Trumpkin from execution. He returns the favor later, at different times saving Susan and Lucy. A minotaur gives up his life to save some of his comrades. Doctor Cornelius, who has been teaching Caspian about Aslan, says he’s risked his life all these years so that the prince could become a better king than those who came before him. The badger Trufflehunter defies social expectations when he goes into Good Samaritan mode and patches up Caspian when he’s first found, wounded, in the woods.

The Pevensies and Caspian will do anything, even risk their own lives, to restore Narnia to its former glory. Why? Because that former glory included reverence for and faith in Aslan. …

Spiritual Elements

And why is faith in one talking lion so important in a story about multitudes of talking animals, not to mention centaurs, minotaurs, river-gods and tree-spirits? For that matter, why are we talking about faith in such positive terms in the midst of a story about mythical creatures? Because author C.S. Lewis goes to great lengths to show us that Aslan is a picture of Jesus Christ.

We’re taught here that following Aslan is the most important thing you can do—especially when no one else can even see him. It’s thought by Old Narnians that Aslan has abandoned them. But he has not.

When Lucy glimpses Aslan through the trees, then loses him the second she turns to tell the others, she’s faced with a choice: follow the lion or follow the crowd. She picks the crowd, and all of them quickly pay for their blindness. (She later apologizes when confronted with her weakness.)

Similarly, Peter dismisses Lucy’s plea to wait for Aslan’s guidance (“Have you forgotten who really defeated the White Witch, Peter?”) when they’re about to go into battle. And, again, they pay for it, this time dearly.

[ Spoiler Warning ] It’s not until Lucy and Susan seek out Aslan’s help that success is granted to their quest. Aslan responds by waking up the trees and river-god, sending them to the Narnians’ aid.

Psalm 127:1 reads, “Unless the Lord builds the house, its builders labor in vain. Unless the Lord watches over the city, the watchmen stand guard in vain.” Lewis was obviously trying to give life to this verse in his book. And while the film doesn’t dive as deeply into it as the book does, the message is not lost, either.

Darker spiritual elements emerge when the White Witch is summoned by a “hag” and a wer-wolf, as Lewis spells it. The summoning involves an occult-themed ceremony of sorts and an incantation. And Caspian’s hand is sliced with a knife in order to fulfill the witch’s request for human blood—which she says will free her from her metaphysical prison.

To the rescue come the Pevensies, who by now know bad magic when they see it. They struggle against the hag and wer-wolf, destroying them before Edmund decisively blocks the witch’s re-entrance into Narnia.

Elsewhere, Lucy heals people’s war wounds with a magical potion she was given on her previous trip to Narnia. Aslan caps the story by healing a mouse’s tail—à la Jesus restoring the man’s shriveled hand in the temple (Matthew 12). Then he forms a magical doorway back to our world through which both Telmarines and the Pevensies walk.

Sexual Content

A subtle, almost imperceptible attraction develops between Susan and Caspian. Then, as if to decorate the final scene with Hollywood glitz, she impulsively runs to him for an embrace and kiss moments before she returns to our world.

Violent Content

If Prince Caspian were King David, God wouldn’t let him build the temple because, as it’s put in 1 Chronicles 22:8, “You have shed much blood on the earth in my sight.” For that matter, the Pevensie kids, young as they are, wouldn’t qualify either. Lucy doesn’t contribute to the sizable body count, but Peter, Edmund and Susan are on the front lines time after time, dispatching foe upon foe with arrow and sword and fist and foot.

Blood shows up on a Telmarine general’s lip after Miraz socks him in the face. And it spreads across Caspian’s hand when the hag slashes it. Most often, though, when swords are plunged into bodies, they don’t come out sheathed in red. But the point here is that swords are plunged into bodies. Repeatedly. As are crossbow bolts, arrows and knives.

The fighting evokes images of ethnic cleansing as Telmarines seek to eradicate the Narnians from their own land. Defending the assault, Miraz hisses, “They’ve been breeding like cockroaches under a rock.” A soldier’s head is severed at one point. It’s swift and not overly graphic, but we do see a helmet-clad orb roll away from the body. A minotaur is pushed off a high castle balcony, and the camera never blinks as he tumbles, crashes into a bulwark, then thuds to the ground, presumably dead. Equally intense is a scene in which another minotaur holds up a descending gate to allow his comrades to escape. The Telmarines riddle his body with arrows and he collapses, the gate slamming down on top of him. The remaining Narnians are trapped and await their doom.

Huge catapults hurl boulders at the Narnians’ makeshift fortress, blasting walls, bringing down doorways, etc. A ploy by the Narnians to collapse the earth underneath their enemies’ feet succeeds, and we see dozens of horses and riders fall into the pit that’s created. Trees awaken and wipe out sections of armored men and animals with their flailing roots and limbs. The river-god—depicted as water that coalesces into the rough form of a man—rips a bridge from its tethers and destroys everyone on it.

Hand-to-hand combat also gets front-and-center attention. Peter and Caspian violently cross swords before they discover they’re on the same side. Caspian puts a sword to his uncle’s throat, forcing him out of bed. And Peter takes on Miraz in an interminable and armor-denting test of superiority. Then, when Peter refuses to kill his fading opponent, one of Miraz’s generals finishes the man off. (We see his body crumple with an arrow sticking out of it.)

The dwarf Trumpkin is bound and gagged in a boat, then thrown overboard to drown. When Peter’s shoulder is dislocated, Edmund wrenches it back into place. For a moment, Susan dangles (frighteningly) over a high ledge. In England, Peter gets into a frivolous fight with another boy. They push, shove, hit and kick.

Crude or Profane Language

One exclamation of “oh my gosh” from Lucy.

Drug and Alcohol Content

Other negative elements.

Susan lies about her name to divert the attentions of a boy from school.

Kids typically get hooked on Lewis’ Narnia books between the ages of 8 and 12. Then they graduate to, say, The Lord of the Rings . So it would seem The Chronicles of Narnia: Prince Caspian should be targeting tweens and pre-tweens. It’s not. This isn’t a kids’ movie. Or even a “family” movie.

It’s a war movie.

From start to finish, battle scenes dominate the landscape. Caspian slashes his way out of Miraz’s castle. He battles with Peter when they first meet. He and Peter lead a surprise attack on the castle. Peter goes mano a mano against Miraz. And then it’s as if the Mongol hordes have descended as the Telmarines face off against the Narnians in a Return of the King -esque mega-conflict. Even the cute creatures are deadly here. The mouse Reepicheep goes straight for the jugular, dispatching numerous rivals with his small-but-effective sword.

By war movie standards, of course, Prince Caspian is restrained. Blood makes infrequent appearances. And bodies flop, drop and crumple instead of exploding into dozens of pieces. We don’t see Reepicheep’s sword piercing flesh. But by family movie standards, there are more cautions than one might expect. There’s a decapitation. Scores of stabbings. And while the body count may not exceed what’s seen in 300 , it’s headed in that direction.

Director Andrew Adamson seems well aware that he’s pushing further than he did before. “This film is probably a little darker and grittier than the last one, partly because the children are older, making the story more adult in nature,” he says. “In the last film, I think we went to some pretty dark places. Aslan’s death, certainly, is one of the darkest moments in the film. I think this movie has the potential to be even more sinister. Miraz is potentially someone that we might actually see in real life, which makes him and the story that much darker.” William Moseley, who plays Peter, adds, “The White Witch was scary, but you’ve seen nothing until you’ve seen Miraz.”

So it’s as Trumpkin says, “You may find Narnia a more savage place than you remember.”

It is also a place that’s filled with more life lessons than you may remember, though. Between battles, brief as those interludes are, there emerge some pretty compelling allegories, both spiritual and cultural. At the fore is the assertion that even in a world devoted to reducing stories of God’s faithfulness and miraculous interventions to mere myth, we can make a choice to believe. And that choice will, quite literally, be our salvation.

Steven Isaac

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Chronicles Of Narnia In Order (Books & Movies)

Netflix is creating a film series adaptation of The Chronicles of Narnia, with Greta Gerwig writing and directing the first two movies.
There is debate among fans about whether to read the Narnia books in release order or chronological order.
Previous adaptations of the Narnia books include a TV movie, a BBC film series, and three movies by Disney – the latter of which were well-received despite not completing the entire series.

With Netflix making a movie series adaptation of The Chronicles of Narnia , it’s the perfect time to revisit the movies and books; however, understanding the right order isn’t agreed upon. Five years ago, Netflix acquired the rights to every book in The Chronicles of Narnia , the first movie company to purchase them all. They soon announced they’d be creating a mix of movies and a series that brought the Narnia books to the big screen. In the years since then, they’ve refined the plan. Netflix’s The Chronicles of Narnia will now only be films with Greta Gerwig writing and directing the first two.

As more news comes out about the upcoming film project, now is a great time for future viewers to get familiar with The Chronicles of Narnia . Author C.S. Lewis published the first Narnia book in 1950, gaining worldwide popularity. While he didn’t expect to write more than one book ( Collected Letters III ), Lewis would go on to write six more books in the series. Unfortunately, the release order conflicts with the chronological order , creating a debate within the fandom about which is the proper way to read the books. Multiple movie adaptations exist for each book, adding extra confusion to the Narnia franchise.

Geoffrey Bles originally published the first five Chronicles of Narnia books, and The Bodley Head published the last two.

How To Read The Chronicles Of Narnia Books In Chronological Order

The Magician’s Nephew (1955)
The Lion, the Witch, and the Wardrobe (1950)
The Horse and His Boy (1954)
Prince Caspian (1951)
The Voyage of the Dawn Treader (1952)
The Silver Chair (1953)
The Last Battle (1956)

For a new reader, it’s better to read the Chronicles of Narnia books in chronological order instead of release order. This approach presents the events linearly, making it easier to follow from start to end. It has a clear start and end point in the timeline, rather than jumping around. C.S. Lewis even preferred this method of reading , according to a letter to a child published in the Collected Letters III . It’s also easier to find boxsets with this numbering and listing because the publisher HarperCollins switched universally to numbering the books chronologically. Any books with a different numbering were published before 1994.

How To Read The Chronicles Of Narnia Books In Release Order

Lewis first wrote The Lion, the Witch, and the Wardrobe – objectively his most famous work – in 1950, five years before the prequel The Magician’s Nephew . Additionally, The Horse and His Boy follows the same time period as the end of the second chronological book, but it didn’t come out until four years later. This makes the story difficult to understand when read in release order.

However, by approaching the series this way, modern readers can experience the books how others did when the Narnia books first came out. Additionally, The Lion, the Witch, and the Wardrobe has more action and a faster pacing than The Magician’s Nephew . This makes it more captivating as a first book for readers with a lower attention span. By the time the prequel comes around in release order, there’s enough investment to get through it. Moreover, the first four Narnia books follow the Pevensie siblings , keeping the narrative tightly following a small group of people rather than exploring the larger world outside of Narnia .

10 Lessons Netflix's Chronicles Of Narnia Reboot Can Learn From The 2000s Movies

All chronicles of narnia movies in order.

The Lion, the Witch, and the Wardrobe (1979)
The Lion, the Witch, and the Wardrobe (1988)
Prince Caspian and the Voyage of the Dawn Treader (1989)
The Silver Chair (1990)
The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe (2005)
The Chronicles of Narnia: Prince Caspian (2008)
The Chronicles of Narnia: The Voyage of the Dawn Treader (2010)

Production companies have tried to adapt The Chronicles of Narnia multiple times for the big screen because of the phenomenal world-building, lore, and fantasy characters . The first time around, CBS created a two-part movie adaptation of The Lion, the Witch, and the Wardrobe for TV. As of the time of writing, this is the only animated version of the Chronicles of Narnia . The second time, the BBC took on the book franchise, making four of the books into a film. Interestingly, they combined Prince Caspian and Voyage of the Dawn Treader , two of the longest books in the series.

It took another fifteen years before Disney rebooted the franchise for the third time. With a Disney-level budget, the visuals looked impressive and realistic. The Chronicles of Narnia cast boasted big-name actors like Tilda Swinton and Liam Neeson and newer actors like Georgie Henley and William Moseley. Unlike previous versions of the famous book series, these movies went over exceptionally well. Disney adapted three of Lewis’ works with a three-year break between the first and second as well as a two-year break between the second and third.

Netflix's Chronicles Of Narnia Reboot Using The Original Books' Ending Would Be A Huge Mistake

Plans were in the works for a fourth movie, but the actors had aged out of the roles by the time the company announced plans for The Silver Chair . The director would’ve needed an entirely new cast , adding an extra layer of difficulty. Additionally, each movie in the franchise grossed less than the previous film, making it more difficult to justify making a fourth movie. In 2018, Netflix acquired the rights to the franchise and announced plans for an entirely new movie franchise, restarting The Chronicles of Narnia cinematic adaptations over again. Still, this unfinished movie franchise is still worth watching due to its high production quality and phenomenal acting.

Source: Collected Letters III

Chronicles Of Narnia In Order (Books & Movies)

First 'Murder Company' Trailer Sends a 'Chronicles of Narnia' Star Into Enemy Territory

The movie also stars Kelsey Grammer and premieres this summer.

The Big Picture

The first trailer for Murder Company shows the covert WWII battalion headed into enemy territory on a mission.
The movie stars Kelsey Grammer, William Mosely, and Gilles Marini.
Murder Company premieres on July 5.

Murder Company , in the wake of releasing the first images of the film, has just dropped its first trailer which introduces an intense, action-packed story set during the Normandy invasion of 1944 . Starring William Moseley and Kelsey Grammer , the upcoming wartime drama explores a covert mission that has remained largely unknown, up until this point. The film follows a diverse unit of American soldiers assigned to a secret operation behind enemy lines. Their mission is to eliminate a key Nazi target with the assistance of a member of the French resistance. The trailer hints at the camaraderie and challenges faced by the courageous group .

Grammer, known for his roles in Cheers , The Simpsons , and Frasier , portrays Haskel, a hard-nosed sergeant from the 82nd Airborne Division. The trailer goes a long way to show Haskel's determination as he leads his men from the Easy, Able, and Dog Companies through the dangerous mission. His leadership is firm, and he's depicted as willing to draw his sidearm when necessary. Meanwhile, Moseley, perhaps best for his role in The Chronicles of Narnia , plays Southern. He teams up with Coolidge, played by Pooch Hall , in a high-stakes ambush depicted in the film's images. Their journey through France takes a perilous turn when Southern is caught in a trap laid by the enemy. Additional members of the cast include the likes of James Wiles as Verrill and Gilles Marini as the injured Daquin, clearly demonstrating the dangers faced by the squad on the mission.

The release of Murder Company coincides with the upcoming 80th anniversary of D-Day on June 6. This film follows the trend of recent WWII stories, such as Guy Ritchie's The Ministry of Ungentlemanly Warfare , which also focuses on secret operations that impacted the Nazi war effort . To help boost the film's authenticity, Murder Company was filmed entirely in Europe, following in the footsteps of those who came before us.

Behind the Scenes of 'Murder Company'

Director Shane Dax Taylor , known for The Christmas Classic and The Best Man , brings his experience in action filmmaking to Murder Company . Taylor's previous work includes action films like Isolation and Close Range , as well as the drama Bloodworth . Joining him is writer Jesse Mittelstadt , who recently wrote the 2022 Tubi horror film Tow , featuring genre veteran Kane Hodder .

Murder Company will be available in select theaters and on digital platforms starting July 5. Check out the trailer above.

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'Beef's Joseph Lee Signs With Gersh

Barnes also appeared in the first two seasons of HBO’s Emmy-winning series Westworld alongside Ed Harris, Anthony Hopkins, James Marsden, and Evan Rachel Wood

On the film side, he starred opposite Katherine Heigl in the independent feature Jackie and Ryan . He was the protagonist of the Warner Bros. feature Seventh Son alongside Jeff Bridges and Julianne Moore, as well as the lead in the independent, Boston mob feature God Only Knows with Harvey Keitel.

Barnes also is known for his portrayal of the Prince/King Caspian in the Chronicles of Narnia franchise. He played the title role in Dorian Gray and was lauded for his performance in the quirky comedy, Killing Bono.

In addition to Gersh, Barnes is represented by Luber Roklin Entertainment and Creative Artists Management in the UK

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The Chronicles of Narnia: The Lion, the Witch and the Wardrobe

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[The Chronicles of Narnia]: A Review

This series really is one story with seven parts.

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