Inhalte(1)

Die beiden Bauernsöhne Per und Pål stehen unter Verdacht, das Königspaar vergiftet zu haben. Ihre einzige Hoffnung ist ihr Bruder Espen (Vebjørn Enger), der sich mit Prinzessin Kristin (Eili Harboe) auf die Suche nach dem sagenumwobenen Schloss Soria Moria macht, das aus purem Gold gebaut sein soll. Der Legende nach befindet sich dort ein Brunnen, der das Wasser des Lebens enthält – das einzige Heilmittel für den König und die Königin. Wenn Espen und Kristin scheitern, bedeutet das das Ende für die Brüder, das Königreich und vielleicht die ganze Welt. (EuroVideo Media)

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Kritiken (3)

MrHlad 

alle Kritiken

Englisch The lovable beggar boy Espen and the brave princess Kristin embark on a long and dangerous journey to a mysterious castle to find the water of life they need to save Kristin's parents and Espen's brothers. It's going to be a long journey filled with danger, humour, monsters and villains with a human face. And it's so much fun to watch. The Ash Lad: In Search of the Golden Castle is closer to an adventure film than a classic fairy tale, and with its impressive production design, awfully cool characters and fast pace, it will keep audiences of all ages entertained. ()

EvilPhoEniX 

alle Kritiken

Englisch The continuation of one of the best fairy tales of recent years is a success and the Norwegians score more plus points. Among other things, I enjoyed the typical fairy-tale props (a witch, seven-mile boots, a three-headed troll, a beautiful princess and a clever protagonist). The film has pace, beautiful practical effects and a magical atmosphere. I loved it and enjoyed it.. 7.5/10. ()

Othello booo!

alle Kritiken

Englisch It's the kind of creative failure where the crew is unable to film a royal ball in such a way that it doesn't look like a neighbor's barbecue, but instead wastes budget on a hideous digital squirrel. As a fairy tale it lacks any stylization, as a fantasy it lacks everything, and on top of that the whole thing is riddled with directorial, dramaturgical, and editing errors that the first two hours of a twelve-credit "film basics for dummies" course at a private general film school must surely be able to eradicate. A little of this could only help. ()