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In Enemy Hands

In Enemy Hands

War · 2004

At the height of Hitler's infamous U-boat war, the crew of the U.S.S. Swordfish were heading home after months at sea. They never made it. Now prisoners of war aboard U-boat 429, a small group of American survivors will find their loyalties put to the ultimate test when they're forced to join their German captors to fight for their very lives.

Movie details

In Enemy Hands

“Their only way out is the enemy.”

2004 War 1h 34m

Critical arithmetic

One number, for now.

TMDB

5.9 / 10

Community rating

At the height of Hitler's infamous U-boat war, the crew of the U.S.S. Swordfish were heading home after months at sea. They never made it. Now prisoners of war aboard U-boat 429, a small group of American survivors will find their loyalties put to the ultimate test when they're forced to join their German captors to fight for their very lives.

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 In Enemy Hands?

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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Where it lives

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Names above the title

The people responsible.

Directed by

Tony Giglio

Written by

John E. Deaver · Tony Giglio · Johnny Hartmann

William H. Macy

William H. Macy

Nathan Travers

Til Schweiger

Til Schweiger

Jonas Herdt

Scott Caan

Scott Caan

Randall Sullivan

Thomas Kretschmann

Thomas Kretschmann

Ludwig Cremer

Lauren Holly

Lauren Holly

Rachel Travers

Xander Berkeley

Xander Berkeley

Admiral Kentz

Chris Ellis

Chris Ellis

Samuel Littleton

Court is in session

Put In Enemy Hands on trial.

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

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.