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Close Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony Pictures">Catfight: NoClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony PicturesClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony Pictures">Behemoth: "It’s too simplistic to sayClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony PicturesClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony Pictures">Paint It Black: Amber TamblynClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony PicturesClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony Pictures">Baby Driver: Edgar Wright’s Baby Driver is a remorselessly entertainingClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony PicturesClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony Pictures">Let It Fall: Los Angeles 1982–1992: How do you document in a film the crack-up of something as complex as a city a quarter-century past? In ABC's vigorous and illuminating Let It Fall: Los Angeles 1982–1992Close Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony PicturesClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony Pictures">Catfight: NoClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony PicturesClose Encounters of the Third Kind: In one sense" data-rightCaption="Close Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony Pictures">Close Encounters of the Third Kind: In one senseClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony PicturesClose Encounters of the Third Kind: In one sense" data-rightCaption="Close Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony Pictures">Close Encounters of the Third Kind: In one senseClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony PicturesClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony Pictures">Close Encounters of the Third KindClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony PicturesClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony Pictures">after allClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony PicturesClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony Pictures">luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another senseClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony PicturesClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony Pictures">luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another senseClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony PicturesClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony Pictures">where city streets meet the seaClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony PicturesClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony Pictures">cruising for older men on the internet. The brim of his hat barely lets us see his eyes. He’s not furiously masturbating or drooling over the hot bods on this site; he’s hiding. When one man asks him to meet in personClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony PicturesClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony Pictures">"I don’t do that sort of thing."; Credit: Courtsey of NeonClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony PicturesTerminator 2: Judgment Day: In 1991" data-rightCaption="Close Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony Pictures">Terminator 2: Judgment Day: In 1991Close Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony PicturesClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony Pictures">the Iron Curtain had recently fallenClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony PicturesClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony Pictures">howeverClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony PicturesClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony Pictures">converted to 3-DClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony PicturesClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony Pictures">converted to 3-DClose Encounters of the Third Kind: In one sense, Steven Spielberg's 1977 UFO bliss-out, Close Encounters of the Third Kind, is reprehensible. It is, after all, the story of a daydreamer dad (Richard Dreyfuss) who leaves his family for worlds unknown as he continually trades in one slender, luminous life companion for another: Teri Garr for Melinda Dillon for the glowing sprites disgorged from the grandest spaceship in cinema history. In another sense, that narrative proves deeply revealing of the film's creator and its era. The leave-it-all-behind ethos of Close Encounters extends beyond the go-nowhere clutter and clamor of the downwardly mobile suburban life of Dreyfuss' Roy Neary.; Credit: Sony Pictures

Watching movies for a living is a tough job, but somebody's got to do it, and our film critics are up to the task. While they see plenty of stellar movies, they see some not-so-great ones, too. They've weeded through them all to give you their picks for some of the best films of August 2017. If a few haven’t opened in a theater near you just yet, don’t fret: There’s always a chance you’ll be able to stream them on your small screen, or they may go into wider release in September.

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