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The Return

The Return

Mystery · Thriller · Science Fiction · 1980

Two young children and an adult in a small town have an encounter with an alien spaceship. 25 years later the children are reunited as adults in the same town which is now beset by strange cattle mutilations. Matters become worse when the cattle mutilations are joined by human murders and mutilations.

Movie details

The Return

1980 Mystery · Thriller · Science Fiction 1h 26m

Critical arithmetic

One number, for now.

TMDB

5.9 / 10

Community rating

Two young children and an adult in a small town have an encounter with an alien spaceship. 25 years later the children are reunited as adults in the same town which is now beset by strange cattle mutilations. Matters become worse when the cattle mutilations are joined by human murders and mutilations.

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 Return?

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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The Signal

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Names above the title

The people responsible.

Directed by

Greydon Clark

Written by

Curtis Burch · Ken Wheat · Jim Wheat

Jan-Michael Vincent

Jan-Michael Vincent

Wayne

Cybill Shepherd

Cybill Shepherd

Jennifer

Martin Landau

Martin Landau

Niles Buchanan

Raymond Burr

Raymond Burr

Dr. Kramer

Neville Brand

Neville Brand

Walt

Brad Rearden

Brad Rearden

Eddie

Vincent Schiavelli

Vincent Schiavelli

Prospector

Court is in session

Put The Return 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 Prestige Tourist

“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.