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Movie Review: 'Close Encounters of the Third Kind'
by The Shadow
2 September 2005
I could only watch 75 minutes of this 1977 stinker starring Richard Jewish Dreyfuss. Even then, it was pure torture.
This was a science-fiction bomb about UFOs that actually received four stars from my local newspaper. If you yourself think UFOs might actually exist, after seeing this piece of junk (which I hope you're never forced to), you wouldn't believe in them if one were to come crashing out of your toilet, which is about the only thing they didn't do here.
The movie is set in the 1970s in the Midwest. Dreyfuss is a young married goofball with children who's more interested in toy trains than his family. For a living, he drives a truck -- for the local Power Company, as far as I could tell.
One starry night he encounters UFOs while out in his truck and becomes obsessed with them. Along the way he meets up with a husbandless woman and her cute little boy, who also have close encounters. Whether Dreyfuss and the woman later hook up and live happily ever after sans Dreyfuss' wife and brats, I don't know and I don't care.
The movie is almost entirely special effects. Toys moving around in the middle of the night, windows opening and closing, a ship sitting in the Gobi Desert, lights flashing on and off, refrigerators dumping food out on the floor. Is this entertainment? What were the Jews possibly up to in producing this garbage? Having just turned the damned thing off, I'm almost too numb to answer my own question.
But this may be the jews' first objective in making this and other moronic films of the same genre: to stop White children from thinking -- even to make them crazy. This movie could not have done one positive thing for the millions of kids who've probably sat through it.
There were, of course, a few sexual innuendos just in the 75 minutes I suffered through it. (I guess it's for the dumbass parents who took their kids to see it.) Dreyfuss is bent over the sink brushing his teeth in his underwear when his beastly kids slap him on the ass with a pan and then snap his picture with a Polaroid. Then, he comes home in the middle of the night after first encountering the UFO and excitedly wakes up his wife who thinks he wants some 2AM action. And when he later compares sunburns from the UFO lights with the husbandless woman, she shows him that her burn extends into her nether regions.
There are also small groups of Jewish-looking scientists running around the globe. There's also the obligatory negro sitting in front of a CRT surrounded by attentive Whites-Jews (like the colored guy on that old TV show who did all the technical work during his crew's spying missions). Finally, there are the Waspy military types, one of whom includes mention of immortality along with ESP and Santa Claus. He does, though, admit to believing in life beyond our planet. All jewy motifs.
The White people of the Midwest generally look pretty stupid, as usual. There's the skinny older guy with the scraggly facial hair who says he once saw Bigfoot. There's the nosy woman neighbor who's always looking out the window. There's a guy yakking about Christian souls. Oy vey. Enough, already.
I still think the major jewish aim in making this horror was to screw up the heads of the White kids who'd watch it. Beyond all the ridiculous special effects, we have Dreyfuss behaving insanely -- digging up plants around his house and then throwing them and loose soil into the house through an open window. We also have Dreyfuss and his skinny little wife screaming at each other half the time. And just trying to follow the 'plot' could give a high school hurdler a stroke.
Whoever produced this monstrosity, if still alive, should be dragged out to a local schoolyard and whipped, just on general principles.
THE SHADOW
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