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Close Encounters of the Third Kind

Close Encounters of the Third Kind

Science Fiction · Drama · 1977

After an encounter with UFOs, an electricity linesman feels undeniably drawn to an isolated area in the wilderness where something spectacular is about to happen.

Movie details

Close Encounters of the Third Kind

“We are not alone.”

1977 Science Fiction · Drama 2h 17m

Critical arithmetic

One number, for now.

TMDB

7.4 / 10

Community rating

After an encounter with UFOs, an electricity linesman feels undeniably drawn to an isolated area in the wilderness where something spectacular is about to happen.

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 Close Encounters of the Third Kind?

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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Forbidden Planet

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Flight of the Navigator

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Ben 10 vs. the Universe: The Movie

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Tomorrowland

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Bound by a shared destiny, a bright, optimistic teen bursting with scientific curiosity and a former boy-genius inventor jaded by disillusionment embark on a danger-filled mission to unearth the secrets of an enigmatic place somewhere in time and space that exists in their collective memory as "Tomorrowland."

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Names above the title

The people responsible.

Directed by

Steven Spielberg

Written by

Steven Spielberg

Richard Dreyfuss

Richard Dreyfuss

Roy Neary

François Truffaut

François Truffaut

Claude Lacombe

Teri Garr

Teri Garr

Ronnie Neary

Melinda Dillon

Melinda Dillon

Jillian Guiler

Bob Balaban

Bob Balaban

David Laughlin

J. Patrick McNamara

J. Patrick McNamara

Project Leader

Warren J. Kemmerling

Warren J. Kemmerling

Wild Bill

Court is in session

Put Close Encounters of the Third Kind on trial.

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

The defence The Auteur Devotee

“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.