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Against All Flags

Against All Flags

Drama · Adventure · 1952

In the 18th century, the pirates of Madagascar, lords of the Republic of Libertatia and masters of the Indian Ocean, live in an impregnable natural fortress, killing, robbing and plundering with impunity, so the British Navy hatches a daring plan to destroy them.

Movie details

Against All Flags

“The greatest sea adventure of the them all!”

1952 Drama · Adventure 1h 21m

Critical arithmetic

The consensus, allegedly.

IMDb

6.5 / 10

3K votes

TMDB

6.0 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

In the 18th century, the pirates of Madagascar, lords of the Republic of Libertatia and masters of the Indian Ocean, live in an impregnable natural fortress, killing, robbing and plundering with impunity, so the British Navy hatches a daring plan to destroy them.

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 Against All Flags?

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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The Sea Chase

The Sea Chase

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Pirates of the Caribbean: The Curse of the Black Pearl

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Names above the title

The people responsible.

Directed by

George Sherman

Written by

Aeneas MacKenzie · Joseph Hoffman

Errol Flynn

Errol Flynn

Brian Hawke

Maureen O'Hara

Maureen O'Hara

Spitfire Stevens

Anthony Quinn

Anthony Quinn

Captain Roc Brasiliano

Alice Kelley

Alice Kelley

Princess Patma

Mildred Natwick

Mildred Natwick

Molvina MacGregor

Robert Warwick

Robert Warwick

Captain Kidd

Harry Cording

Harry Cording

Gow

Court is in session

Put Against All Flags on trial.

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

The defence The Sentimental Softie

“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.