Narnia is an adaptation of the beloved C.S. Lewis children’s book (first published in 1950 and first in a series of seven books) that has been viewed by many as a Christian allegory. Thus, the movie’s big opening weekend numbers have been attributed to a significant turnout by families and churchgoers who hold the book near and dear to their hearts. But for our purposes in this column, the more pertinent issue is whether moviegoers should hold this film in any such high regard.

Directed by Andrew Adamson, a veteran of animated films (i.e., the Shrek films) making his live-action feature debut, Narnia tells of the Penvensie kids, a group of four children – oldest brother Peter (William Moseley), cautious sister Susan (Anna Popplewell), rebellious Edmund (Skandar Keynes) and wide-eyed dreamer Lucy (a precocious Georgie Henley) – who are sent away from London, which is being besieged by World War II bombings, to the cavernous country home of their peculiar uncle (the wonderful Jim Broadbent).

Once there, the contentious siblings battle boredom and each other. But during a game of hide-and-seek, young Lucy stumbles upon a perfect hiding place, a wardrobe closet full of massive fur coats… and a gateway to a whole other world, a strange, mysterious place called Narnia.

Young Lucy is also the first to encounter the strange, fantastical creatures of the land, including fauns, minotaurs, centaurs and assorted talking animals. Though a magical place with ice-capped mountains and snow covered branches, the children discover Narnia is not exactly a winter wonderland. The land is being kept in a perpetual icy state due to the White Witch (a wonderfully menacing Tilda Swinton), a tyrannical figure who uses fear and oppression to rule the land. Resistance to her reign is mounting, however, led by a mythical figure named Aslan (a CGI character voiced by the mellifluous tones of Liam Neeson) and the hope spurred by an ancient prophecy that seems to somehow involve the young Penvensie clan.

Director Adamson shows a sure hand in guiding this film to a more than satisfying unfolding. In fact, it’s admirable that he has told the tale with all its allegorical aspects intact, but without turning it into an over-the-top rallying cry or proselytizing hammer, if you will (though I’m sure there will be those who will use the film for that), for “true believers.”

On the other hand, I’ve heard the film referred to as The Lord of the Rings Jr, and I can understand that kind of thinking. For myself, I think I’ve been spoiled a bit by such things as The Lord of the Rings films and the Harry Potter series, which are given several films to build up their characters and give us the opportunity to build a rapport with the personalities onscreen.

Here, I found myself especially entranced during the first half of the movie, as Adamson and crew establish a superb contrast between the lives of the children in the “real world” (the opening scenes in London, though short, are fiercely effective) and the fantastical world of Narnia.

But once we’re immersed fully in the world of Narnia, I was less apt to connect to the barrage of characters (though there are some endearing figures). Still, it’s a delightfully entertaining movie and one that should engage viewers young and old.

“The Chronicles of Narnia: The Lion, the Witch and the Wardrobe is rated PG for battle sequences and frightening moments.