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Not being one who seeks out the seemingly endless line of Harry Potter/Narnia/Lord of the Rings tropes (a microscopic computer generated monster realm goes a long diagram), THE GOLDEN COMPASS came somewhat as a expedient surprise. Yes, this is peaceful a fantasy film, but the emphasis is more on stylish creation of various animals (in the forms of ‘daemons’ that accompany children as their souls, morphing into various animal life at will) than wearisome explosions and flying beasties.

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Lyra (Dakota Blue Richards) is clearly the star of this adventure that explores the possibility of other, parallel worlds whose interaction with the world as we know it is controlled by various groups of profitable guys and awful guys, all seeking the source of secrecy contained in a Golden Compass that can only be read by a single girl – Lyra, a bad child living in the presence of scholars. Lyra’s uncle, Lord Asriel (Daniel Craig) places the Golden Compass in Lyra’s shimmering hands and heads off to the far North to investigate the element that binds all life together – Dust. The story is space in motion by the enigmatic Mrs. Coulter (Nicole Kidman) who gains Lyra’s confidence and offers to remove her to the tall North. All manner of adventures occur on the budge – friends of Lyra’s are threatened to be separated from their various daemons in the cruel hands of the awful guys, Lyra’s encounter with a witch Serafina Pekkala (Eva Green), her assistance from a fine astronaut (Sam Elliott) and an armored have – and with all fantasies, top-notch prevails – or does it? Tune in for the very positive next installment.

The pleasures are many, not the least of which are the voices and changing forms of the exiguous animal daemons. The cast is capable and the whole movie sails with yet another glorious musical earn by Alexandre Desplat. It is a nice diversion, but you have to appreciate fantasy. Grady Harp, May 08

The special effects and the cinematography of “The Golden Compass” are unbelievable, but it’s the subtext that really shines through, making for one of the most current, bright, and lively fantasy films of modern memory. Objective as it is in the film, the area of Philip Pullman’s unusual unique suggested that free will was kept under strict control. The film brings this understanding to the surface and allows the audience to analyze it; in a parallel universe–in which a person’s soul is separate and physically represented by an animal–a ruthless organization called the Magisterium tries to enforce rules against free will. Anyone who challenges its authority will be condemned as a heretic. Because they wanted to ensure total compliance, the Magisterium sought to end every last alethiometer, or golden compass–a magical, watch-like mechanism that literally tells the truth by pointing at weird symbols.

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The one alethiometer that survived is now in the possession of Lord Asriel (Daniel Craig), a college professor who defies the Magisterium by confirming the existence of dust. I’m not referring to the allergy-inducing particles that decide on ordinary surfaces; I’m referring to the magical substance that’s somehow related to a rift between their universe and ours. Because this has place him at odds with the Magisterium, he gives the alethiometer to his orphaned niece, Lyra (Dakota Blue Richards), a young girl raised by the professors at a university. Lyra, who absolutely hates being called a lady, is clever, gallant, and incredibly headstrong, with an adventurous spirit that occasionally gets her into effort. Her spirit–or daemon, as referred to by the characters–is Pan (voiced by Freddie Highmore), who hasn’t quite decided which animal create to steal. He spends most of his time as a ferret, but he also turns into a cat, a bird, and a mouse.

When Lyra hears that her uncle is traveling to the snowy north to obtain the dust and commence this cross-dimensional rift, she wishes to join him. Asriel refuses to let her, and he warns her against speaking of dust to anyone. Here enters Mrs. Coulter (Nicole Kidman), the scandalous, controlling head of the Magisterium; she like a flash learns that the alethiometer is in Lyra’s possession and vows to reclaim it by tricking Lyra onto her gracious side. Mrs. Coulter’s correct nature is soon revealed, and upon escaping, Lyra is establish under the protection of the Gyptians, a band of rebels who were once aided by Lord Asriel. As they dart north with Lyra, she also meets: Serafina (Eva Green), an aesthetic, almost ethereal witch; Lee Scoresby (Sam Elliott), a grizzled pilot who speaks like a Texan from the Outmoded West; and Iorek Byrnison (voiced by Ian McKellen), a disgraced polar own who was once a expansive warrior among an entire clan of polar bears. To rid himself of his shame, he decides to reclaim his stolen armor and protect Lyra at whatever cost.

This is sparkling distinguished the foundation for the adventure that follows, an adventure so gargantuan that it isn’t over even when the movie ends. But in the titanic plan of things, the adventure is fairly superficial and only portion of what makes it so wonderful; “The Golden Compass” is honest as conception provoking as it is toothsome, filled to the brim with shimmering, meaningful undertones. This isn’t to say that the film exists entirely as one mountainous commentary–a salubrious share of it functions at a level of pure entertainment, from the convincing special effects to the pretty residence designs to the unbelievable mechanical creations. The chronicle is not one of the future, the past, or even the present; its current setting has essentially made any sense of time meaningless. And let’s not forget a number of lighthearted moments between Lyra and her best friend, Roger (Ben Walker), both of whom are more like bonded siblings.

But there is a unlit side to this record. For one thing, the Magisterium is interested in a defective state to kidnap children and cut the connections between them and their daemons. The sooner they lose their spirits (pun definitely intended), the quicker they can be controlled. There’s also a general sense of foreboding that runs through the entire film, as if to say that obvious things are not as simple as they may first appear. Assume the fact that a person’s physical damage is also felt by his or her daemon, and vice versa: What exactly will happen if one of them dies? Can one exist without the other? And how exactly are daemons a threat to free will?

The fact that I’m asking these questions is a helpful thing, because it proves that “The Golden Compass” is a stimulating film. Rarely is a fantasy yarn allowed to transcend the limiting clichés of princesses, castles, dragons, swords, and predictable Hero’s Journeys. Here’s a film that actually brings something fresh to the genre, something current, spicy, bold, and positive. This is not a mind-numbing rehash; it’s a thoroughly unique experience, highlighted by delectable performances, a solid structure, and a well-rounded social commentary. I thunder I should do a ticket about the Catholic Church’s terrible reception of this film, but why bother? Religion–or lack thereof–has nothing to do with it. It has everything to do with being appealing, vivid, and imaginative.
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