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We're No Angels

We're No Angels

Comedy · Crime · 1955

Three convicts escape from prison on Devil's Island just before Christmas and arrive at a nearby French colonial town. They go to the store of the Ducotels, the only store that gives supplies on credit. They initially intend to take advantage of them but have a change of heart after they find the family is in financial troubles.

Movie details

We're No Angels

“A strangler... A swindler... A safecracker... Yet you'll love them!”

1955 Comedy · Crime 1h 46m

Critical arithmetic

One number, for now.

TMDB

7.2 / 10

Community rating

Three convicts escape from prison on Devil's Island just before Christmas and arrive at a nearby French colonial town. They go to the store of the Ducotels, the only store that gives supplies on credit. They initially intend to take advantage of them but have a change of heart after they find the family is in financial troubles.

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 We're No Angels?

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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O Brother, Where Art Thou?

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Bandits

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Names above the title

The people responsible.

Directed by

Michael Curtiz

Written by

Ranald MacDougall

Humphrey Bogart

Humphrey Bogart

Joseph

Aldo Ray

Aldo Ray

Albert

Peter Ustinov

Peter Ustinov

Jules

Joan Bennett

Joan Bennett

Amelie Ducotel

Basil Rathbone

Basil Rathbone

Andre Trochard

Leo G. Carroll

Leo G. Carroll

Felix Ducotel

John Baer

John Baer

Paul Trochard

Court is in session

Put We're No Angels on trial.

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

The defence The Big-Idea Head

“Form is the argument.”

Every composed frame and deliberate cut is evidence that control can be thrilling in its own right.

The prosecution The Popcorn Loyalist

“Technique in search of a pulse.”

Immaculate construction is still construction. The film may be too busy proving its craft to feel alive.