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The Chronicles of Narnia: The Voyage of the Dawn Treader

The Chronicles of Narnia: The Voyage of the Dawn Treader

Adventure · Family · Fantasy · 2010

This time around Edmund and Lucy Pevensie, along with their pesky cousin Eustace Scrubb find themselves swallowed into a painting and on to a fantastic Narnian ship headed for the very edges of the world.

Movie details

The Chronicles of Narnia: The Voyage of the Dawn Treader

“Return to magic. Return to hope. Return to Narnia.”

2010 Adventure · Family · Fantasy 1h 53m

Critical arithmetic

One number, for now.

TMDB

6.4 / 10

Community rating

This time around Edmund and Lucy Pevensie, along with their pesky cousin Eustace Scrubb find themselves swallowed into a painting and on to a fantastic Narnian ship headed for the very edges of the world.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Chronicles of Narnia: The Voyage of the Dawn Treader?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Michael Apted

Written by

Stephen McFeely · Michael Petroni · Christopher Markus

Georgie Henley

Georgie Henley

Lucy Pevensie

Skandar Keynes

Skandar Keynes

Edmund Pevensie

Ben Barnes

Ben Barnes

Caspian

Will Poulter

Will Poulter

Eustace Scrubb

Anna Popplewell

Anna Popplewell

Susan Pevensie

Tilda Swinton

Tilda Swinton

White Witch

William Moseley

William Moseley

Peter Pevensie

Court is in session

Put The Chronicles of Narnia: The Voyage of the Dawn Treader on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Popcorn Loyalist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.