Movies have a distinct ability to evoke a variety of emotions from just the images and sounds presented on screen. Director Steven Spielberg is the sort of master filmmaker who understands this and has devoted much of his career to using that ability to move the masses, whether in adventure films, historical dramas, or science fiction. Disclosure Day falls into that latter category, and it sure does serve as a great reminder as to why Spielberg became the King of the Summer Blockbuster. This film is thrilling fun, with intelligent ideas at its core. That said, it’s the mix of wonder and emotion that Spielberg and his team capture so well that truly allows a film like this to escape orbit and feel special.
The story by Spielberg and one of his frequent collaborators for this sort of thing, David Koepp, makes the interesting choice of feeling like it’s the third act of a larger story, focusing almost entirely on the race to the finish line. Rather than belaboring us with backstory, we catch up on information as needed, with a few simple understandings. Fortunately, where other filmmakers may falter in trying to push for momentum while riding the line between vagaries and exposition dumps, this film features a master craftsman presenting a story that remains plenty impactful even in these moments leading up to a larger reveal.
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Colin Firth’s Noah Scanlon is the head of the mysterious Wardex corporation, which has worked with the government to keep something under wraps. Josh O’Connor’s Daniel Kellner is a whistleblower on the run, and his girlfriend Jane (Eve Hewson) is staying right by his side. Meanwhile, Emily Blunt’s Margaret Fairchild is a TV weather reporter who suddenly develops extraordinary abilities, allowing her to understand everything about anyone she comes into contact with. A common link between all of these people is Colman Domingo’s Hugo Wakefield, another defector from Wardex, who wants all involved to disclose what they know to the world.
Given the affinity Spielberg has shown in the past when it comes to his different depictions of extraterrestrials, it would not be a spoiler to note whether or not this film’s government conspiracy has to do with aliens as well. With that in mind, this is not a film focused on whether aliens exist, but on what humanity should do when it learns the truth about them. The less interesting side of this story would be to focus on drawn-out conversations about how this kind of footage can just be created on computers, but Disclosure Day exists in a world where that sort of cynicism is largely held at bay. Instead, multiple personalities are pushed to contend with this kind of understanding and how it challenges their worldview, which, ideally, represents many moviegoers as well.
Among the questions being asked is the notion that we should all be free to know the truth if given the option. But is that too much of an ask for the world at large, given other pressing safety concerns? On top of that, what does this mean when considering beliefs in a higher power? Does it stop at just Earth, or does it go beyond? Or, are these aliens The higher power in question? A B-movie would want to more-or-less provide answers to these questions, assuming it was even asking them. More thoughtful films know it’s wiser to allow for debate and to find other ways to engage the audience at these levels.
Spielberg is no stranger to this kind of narrative propulsion. It’s one way his historical works and his more adventurous films collide. More recently, Lincoln, Bridge of Spies, and The Post find plenty of urgency in the negotiations taking place between main characters. At the same time, many of Spielberg’s sci-fi efforts, Close Encounters of the Third Kind, Minority Report, and even Ready Player One, all find characters navigating their climaxes by considering the moral and psychological dilemmas posed by the nature of their status quo. Here, even as the film happily gets caught up in some kind of (very well-staged) chase sequence every so often, there’s plenty of excitement in between those scenes as well thanks to the care that comes from knowing there’s more to what’s seen between set pieces than some may think necessary.
Tasked with handling all of this are a group of performers who, unsurprisingly, deliver strong work. Firth and his evil beard provide plenty of convincing menace, while also understanding that much of this is playing out like a chess match, and defeat or victory doesn’t necessarily mean having to be as dramatic as possible. O’Connor’s anxiousness is a good fit for a non-action star-type lead, who is capable without having to punch his way through scenes. Hewson gets some really great material to work with on the nature of religion, set against what she’s learning, with Elizabeth Marvel as a key scene partner as Sister Maura. And Colman Domingo is always one to shine, with his work here serving as a grand authoritative voice speaking to the idea of freeing the information we have, but with a tenderness that goes a long way.
Now, as good as these performers all are, Emily Blunt is giving perhaps her career-best performance here. Going from an aspiring weather person to an ethereal force of nature, without really understanding what’s happening to her, allows for so many scenes that have to balance empathy, humor, and mystery. Given Spielberg’s knack for staging elaborate scenes of dialogue and character movement, watching Blunt navigate a long take that requires her to speak multiple languages, convey a variety of emotions, and handle all the physical aspects is easily impressive. That said, on top of sequences like those, it’s what she’s able to put into a series of brief interactions with people because of her sudden ability to know all about who they are and what they need to hear to be calmed that really reinforces how great a performance this is. It’s enough to stir emotion, especially as the film reveals more about this trick and what’s really going on. And a special shoutout to Wyatt Russell as Jackson, Blunt’s boyfriend who remains hilariously flustered about all of this for a portion of the film.
Much like how well things have come together in front of the camera, everyone Spielberg is working with behind the camera delivers as well. Being able to create a new feature that has such a comforting feel is a real treat, and it speaks to getting John Williams to once again delay full-on retirement to provide another solid score for this feature. Janusz Kaminski’s cinematography is something I’ve felt mixed about in many of his 00s/10s features. Currently, it feels like a strong aid to the ideas at play, as it leans into what’s disclosed through camera placement and lighting choices. And editor Sarah Broshar, mentored by Michael Kahn, fulfills the requirements for finding the right ways around scenes, bringing together a film that runs over two hours but never feels out of touch with the superior construction of a film with this level of scope.
Speaking to that scope, acknowledging Spielberg’s ability to have fun with another dive into sci-fi (in contemporary times, no less) allows for standout sequences, such as a mysterious handheld item said to have disastrous consequences if used improperly, which lets us eagerly await that inevitable result. Visual communication of how things work when dealing directly with whatever possible alien figure or power is encountered speaks to an innovative use of visual effects. All that said, with the fun comes some darkness. In this case, it’s a natural inclination towards the cruelty the film’s villains exhibit, which makes for powerful imagery that will no doubt resonate with some audiences still grappling with recent events.
Having, in recent times, been able to fulfill certain goals of making a musical, detailing his personal life, and finding ways to address American systems in place, for better or worse, and what can be done about it, it has been exciting to watch such a brilliant filmmaker show no signs of fading in his abilities. Once again delving into the world of summer blockbusters, a sci-fi thriller full of adventure and mystery was a real joy to see, knowing that those strengths are still so apparent. Whether or not there’s some real-world irony to come in regards to this picture, I’m more than happy knowing that Disclosure Day’s endgame is merely one aspect to appreciate, as this is a rich feature that spends a worthwhile amount of time dealing with the journey, rather than hand everything out at the end. That’s a sign of knowing there’s more to a movie like this than just a close encounter.
Disclosure Day opens in theaters and IMAX on June 12, 2026.
