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The Fourth Kind

The Fourth Kind

Mystery · Science Fiction · Thriller · 2009

Since the 1960s, a disproportionate number of the population in and around Nome, Alaska, have gone missing. Despite FBI investigations, the disappearances remain a mystery. Dr. Abigail Tyler, a psychologist, may be on the verge of blowing the unsolved cases wide open when, during the course of treating her patients, she finds evidence of alien abductions.

Movie details

The Fourth Kind

“There are four kinds of alien encounters. The fourth kind is abduction.”

2009 Mystery · Science Fiction · Thriller 1h 38m

Critical arithmetic

One number, for now.

TMDB

6.4 / 10

Community rating

Since the 1960s, a disproportionate number of the population in and around Nome, Alaska, have gone missing. Despite FBI investigations, the disappearances remain a mystery. Dr. Abigail Tyler, a psychologist, may be on the verge of blowing the unsolved cases wide open when, during the course of treating her patients, she finds evidence of alien abductions.

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 Fourth Kind?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Where it lives

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Cinema release signals and current streaming, rental, and purchase options for your region.

Streaming availability data supplied by JustWatch.

Names above the title

The people responsible.

Directed by

Olatunde Osunsanmi

Written by

Olatunde Osunsanmi

Milla Jovovich

Milla Jovovich

Dr. Abigail 'Abbey' Tyler

Elias Koteas

Elias Koteas

Abel Campos

Will Patton

Will Patton

Sheriff August

Hakeem Kae-Kazim

Hakeem Kae-Kazim

Awolowa Odusami

Corey Johnson

Corey Johnson

Tommy Fisher

Enzo Cilenti

Enzo Cilenti

Scott Stracinsky

Eric Loren

Eric Loren

Deputy Ryan

Court is in session

Put The Fourth Kind 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.