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Behind the Line: Escape to Dunkirk

Behind the Line: Escape to Dunkirk

War · 2020

Occupied France, 1940. A Nazi Commander discovers one of his prisoners, Danny is a champion boxer. He forces him to fight for his company's entertainment. But the POWs realise they can use these contests, as cover for an audacious breakout, before they re sent to Germany, where escape will be almost impossible. Their fate and freedom may all come down to how long Danny can keep fighting.

Movie details

Behind the Line: Escape to Dunkirk

2020 War 1h 27m

Critical arithmetic

One number, for now.

TMDB

6.2 / 10

Community rating

Occupied France, 1940. A Nazi Commander discovers one of his prisoners, Danny is a champion boxer. He forces him to fight for his company's entertainment. But the POWs realise they can use these contests, as cover for an audacious breakout, before they re sent to Germany, where escape will be almost impossible. Their fate and freedom may all come down to how long Danny can keep fighting.

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 Behind the Line: Escape to Dunkirk?

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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Names above the title

The people responsible.

Directed by

Ben Mole

Written by

Ben Mole

Sam Gittins

Sam Gittins

Danny Finnegan

Joe Egan

Joe Egan

Maximus Sennenhund

Jennifer Martin

Jennifer Martin

Chantalle

Tim Berrington

Tim Berrington

Hauptsturmführer Drexler

Joel Phillimore

Joel Phillimore

Tim Harper

Ryan Winsley

Ryan Winsley

Archie Bennett

Toby Kearton

Toby Kearton

British Soldier

Court is in session

Put Behind the Line: Escape to Dunkirk 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.