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The Gendarme and the Creatures from Outer Space

The Gendarme and the Creatures from Outer Space

Comedy · Science Fiction · 1979

The bungling inspector Cruchot finds himself trying to save the residents of St. Tropez from some oil-drinking humanoid aliens. The only way to tell the aliens from the real people, besides their constant thirst for oil-products, is that they sound like empty garbage cans when you touch them. Chaos is ahead.

Movie details

The Gendarme and the Creatures from Outer Space

1979 Comedy · Science Fiction 1h 36m

Critical arithmetic

One number, for now.

TMDB

6.1 / 10

Community rating

The bungling inspector Cruchot finds himself trying to save the residents of St. Tropez from some oil-drinking humanoid aliens. The only way to tell the aliens from the real people, besides their constant thirst for oil-products, is that they sound like empty garbage cans when you touch them. Chaos is ahead.

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 The Gendarme and the Creatures from Outer Space?

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

Jean Girault

Written by

Gérard Beytout · Jean Girault · Louis de Funès · Jacques Vilfrid

Louis de Funès

Louis de Funès

Ludovic Cruchot

Michel Galabru

Michel Galabru

Jérôme Gerber

Maurice Risch

Maurice Risch

Henri Beaupied

Jean-Pierre Rambal

Jean-Pierre Rambal

Charles Taupin

Guy Grosso

Guy Grosso

Gaston Tricard

Michel Modo

Michel Modo

Jules Berlicot

France Rumilly

France Rumilly

Soeur Clotilde

Court is in session

Put The Gendarme and the Creatures from Outer Space on trial.

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

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Popcorn Loyalist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.