In our world, a year has past since the four Pevensie children discovered Narnia, the magical world they first visited onscreen in The Lion, the Witch and the Wardrobe (2005). They re-enter Narnia via a subway station, only to find that there, 1300 years have elapsed, during which the kingdom has been invaded by the Telmarines -- bearded, swarthy humans who seem to speak with Spanish accents (and bring to mind England and the Armada). The rightful heir to the throne, dashing young Prince Caspian (Ben Barnes), has been driven from the palace and is running for his life, and has inadvertently summoned the Pevensies from the middle-class England of WWII by blowing an ancient, magical hunting horn. Once back in Narnia, however, the Pevensies reassume the royal status they’d attained by the conclusion of The Lion, the Witch and the Wardrobe.

The few remaining Narnians, now hiding in the woods, are soon assembled, and sides are drawn up. Guided by the Pevensies, the motley band sets out to defeat the invaders and retake the kingdom for Caspian. The oldest boy, Peter Pevensie (William Moseley), is the logical leader, but this causes tension between him and Caspian, and leads to defeat in their forces’ first attack. Where’s the Lion, Aslan, when they need him? Aslan does finally appear, just in the nick of time and looking more digital than ever, and still speaking in the sonorous voice of Liam Neeson.

It’s not a bad story, especially as a continuation of the first, but director Andrew Adamson, who directed both films, doesn’t seem to know how to tell this one. Prince Caspian proves, as if The Golden Compass hadn’t already, that special effects can carry a film only so far. To succeed, a film needs a good story and excellent acting and directing. Iron Man rocks because it uses special effects as a means to an end rather than the end itself. Prince Caspian fails because its human action is boring, uninvolving, and at times pretentious, and its pace is herky-jerky.

Many scenes are not so much acted as posed. When we get to a "big" place, the actors assume expressions usually associated with studio stills taken to be used on the movie’s posters. Between such posing is some action and way too much vapid conversation, especially from ear-bending digital talking beasts, before it’s on to the next big pose. Aided by Harry Gregson-Williams’ music, which unnecessarily punctuates every big moment with a big exclamation point, Prince Caspian proceeds by lurches. A half hour could have been cut and no one would have missed it.

Even as a special-effects show, Prince Caspian comes up short. That darned lion shimmers, looking like the CGI insert he is. The battle scenes are full of CGI armies that look like CGI armies. On the other hand, the living tree effects are pretty good, and the Gryphons look as real as a fantastic critter can. There are some neat catapults in the final battle, and a few welcome action scenes. The sword fight between Peter and Caspian’s evil uncle, Miraz (Sergio Castellitto), has good energy that’s threatened by some unnecessary slow motion.

A highlight is an uncredited and all-too-brief appearance by Tilda Swinton as the evil White Witch, the character she portrayed in the first film, who needs only a little blood to bring her back to life. Perhaps that’s what the rest of the cast needed. Locked in a prison of ice, Swinton has more life in her than do the rest as they roam at will.

If you’ve seen The Lion, the Witch and the Wardrobe, you’ll have to see this one. But if Prince Caspian will be your introduction to the Narnia series, I direct you to the first film, in which we meet the Pevensies before they become royals, and when they’re still likable kids with energy and feeling. That film is fresh, and exceptionally entertaining.

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