December 12th, 2005 | Published in old and busted
So, previous entry I said I was curious about how well “The Lion, the Witch, and the Wardrobe” is “going to play with the audience the astroturfing Jesus marketers were banking on to make the movie a holiday event.”
I told Al walking out of the theater that I suspected the presence of talking animals, mythological creatures and references to “magic” as the driving force of the universe (vs. plain old “God”) would put some of the fundamentalist types off their lunches.
CAPS Reviews to the rescue:
> The Chronicles of Narnia: The Lion, the Witch and the Wardrobe may be described as a magnificent and beautiful, intricate creative work of geniuses in many talents. But it appears to be a blend of what may be cautiously paralleled with the Gospel mixed with paganism and maybe Gaiaism. It may be what God is talking about in His warning of they who, through smooth talk [Rom. 16:18] and fine-sounding arguments [Col. 2:4] and strange philosophy [Col. 2:8], would slip in amongst us “unawares” to deceive us and change His Word into a convenience interpretation or a situational redefinition of it — into a more comfortable or believable counterfeit. [Rom. 1:25, Jude 1:4] — into a version that serves man but not Christ, or at least serves Christ less than man.
A quick glance at the rating metric in that review shows some concern over scenes of “demon revelry.”
A quick comment on the movie itself, I guess: I liked it o.k., but it had the handicap of following in the wake of Jackson’s “Lord of the Rings,” which meant that in scenes where the sets and props weren’t nearly as lush or detailed (or were merely CG backdrops), you missed the lushness and detail of, say, the hand-carved wood of Rivendell; and in scenes where the director took his cues from Jackson (in the form of soaring, cross-fading boom-shots of our heroes trekking through the Narnian wild), it sort of felt rote. And despite a few speeches about the vastness of the land, there was no visual equivalent to the signal tower lighting scene in “Return of the King,” which said more in seconds of visual exposition, and did more to make Middle Earth vast, than any speechifying could have.