{"id":453,"date":"2026-06-10T23:36:48","date_gmt":"2026-06-10T23:36:48","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=453"},"modified":"2026-06-10T23:36:48","modified_gmt":"2026-06-10T23:36:48","slug":"in-disclosure-day-steven-spielberg-replays-the-hits","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=453","title":{"rendered":"In \u201cDisclosure Day,\u201d Steven Spielberg Replays the Hits"},"content":{"rendered":"
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It\u2019s been nearly four years since we\u2019ve had a new Steven Spielberg picture\u2014an unusually long, but understandable, wait. Spielberg, though as nimble an entertainer as we\u2019ve got, will turn eighty this December, and the halcyon overachieving years of \u201cJurassic Park\u201d and \u201cSchindler\u2019s List\u201d (1993), \u201cMinority Report\u201d and \u201cCatch Me If You Can\u201d (2002), and \u201cWar of the Worlds\u201d and \u201cMunich\u201d (2005) seem far behind him. His most recent feature, \u201cThe Fabelmans\u201d (2022), was the kind of piercingly confessional work that might have put a lesser filmmaker out to pasture (not that a lesser filmmaker could have made \u201cThe Fabelmans\u201d). After digging deep into his formative memories\u2014chief among them his childhood surrender to the movies, which would define him, and which he would forever redefine\u2014where, exactly, could Spielberg go next?<\/p>\n

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The opening scenes of his new blockbuster, \u201cDisclosure Day,\u201d offer up a hilarious answer: a pro-wrestling match, of course, for a rejuvenating dose of adrenaline. It\u2019s a more pummelling kind of Spielberg spectacle than we\u2019re used to, and also a canny diversion; in the bleachers, a far more consequential clash of wills is secretly playing out. Daniel Kellner (Josh O\u2019Connor), a sharp-witted cybersecurity expert, plans to blow the whistle on the sinister non-government agency wardex<\/em>, short for Waived Reporting, Development, and Extraction. His former boss, Noah Scanlon (Colin Firth), is determined to stop him from exposing the group\u2019s secrets: namely, that alien life-forms exist, and that the agency has concealed evidence of their visits for decades.<\/p>\n

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Soon, Daniel has fled with his girlfriend, Jane (Eve Hewson), and a device loaded with incriminating evidence, which they plan to make public if Scanlon and his minions don\u2019t kill them first. Explaining his Snowdenesque attack of conscience, Daniel insists that the truth isn\u2019t proprietary but, rather, \u201cbelongs to eight billion people.\u201d He\u2019s not alone in his conviction. Several other wardex<\/em> employees have also gone rogue, led by Hugo Wakefield (Colman Domingo), who helps Daniel remain (barely) one step ahead of his pursuers. They also have a potent, if unknowing, ally in Margaret Fairchild (Emily Blunt), a meteorologist from Kansas City, Missouri, who abruptly finds herself over the weather. Delivering her morning report, she begins emitting guttural click-click noises, as if she\u2019s been possessed by a Predator. What does this mean? And how, for that matter, can she suddenly read people\u2019s minds?<\/p>\n

Before long, Margaret and her nonplussed partner, Jackson (Wyatt Russell), are also on the run, and although the destination is uncertain, we find ourselves in vintage Spielberg terrain. The cross-country crosscutting is propulsive, and the many chase sequences are filmed with breathtaking agility; at one point, a car tussles with a freight train and loses, in predictable yet spectacular fashion. Spielberg shifts tonal gears with practiced ease, a sense of awe going hand in hand with an ebullient comic anarchy. An early confrontation between Scanlon and Daniel encapsulates these extremes: Firth has seldom looked more malevolently grizzled, whereas O\u2019Connor, even under the direst circumstances, retains his elfin mischief. When you remember that both actors have played British royalty\u2014Firth in \u201cThe King\u2019s Speech\u201d (2010) and O\u2019Connor on two seasons of \u201cThe Crown\u201d\u2014their characters\u2019 enmity feels even funnier. Not least among the inspired eccentricities of this American road movie is the fact that Spielberg has cast the major roles with English actors (plus Hewson, who\u2019s Irish). This proves a particular coup in the case of Blunt, who here gets to merge her comedy and action chops within a more earnestly emotive register, playing Margaret as a fount of crackpot conviction.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Margaret, following her nutty North Star wherever it leads, would have been right at home in \u201cClose Encounters of the Third Kind\u201d (1977), in which U.F.O. sightings make enraptured believers of a select few. But that\u2019s hardly the only Spielberg joint that gets revisited. A reference to Roswell harks back to the extraterrestrial shenanigans of \u201cIndiana Jones and the Kingdom of the Crystal Skull\u201d (2009), which, like this film, was written by David Koepp. (He also co-wrote \u201cWar of the Worlds,\u201d another alien saga.) When Margaret begins using her telepathic powers, you might flash back to Agatha from \u201cMinority Report,\u201d spouting oracular warnings at every stranger who crosses her path. At times, the new movie recalls Spielberg\u2019s journalistic thriller, \u201cThe Post\u201d (2017), which likewise hinges on the dissemination of information that, the powers that be caution, would pose a grave threat to national security.<\/p>\n

The real menace here isn\u2019t the aliens\u2014prototypically gray-green, pear-headed beings who, in our occasional glimpses of them, look vulnerable, even frail\u2014but, Scanlon suggests, humanity itself, which is far too hubristic and divided to handle the knowledge of their existence. He and his wardex<\/em> colleagues have turned this foul conviction into a self-fulfilling prophecy: for decades, they have subjected aliens to unspeakable acts of torture, and then hidden evidence of those abuses. You may well think of \u201cE.T.\u201d (1982), with its rather rosier vision of an outer-space visitor being held against its will. These close encounters, by contrast, have been anything but kind.<\/p>\n

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In February, former President Barack Obama made waves when, during an interview with the YouTuber Brian Tyler Cohen, he said that aliens are \u201creal, but I haven\u2019t seen them.\u201d (He later clarified, in an Instagram post: \u201cI saw no evidence during my presidency that extraterrestrials have made contact with us. Really!\u201d) Hours after the interview was posted, Donald Trump rebuked Obama for revealing \u201cclassified information\u201d\u2014then, not to be out-revealed, said that his Administration would release government files related to U.F.O.s and U.A.P.s, or unidentified anomalous phenomena. Last month, the Pentagon published a tranche of \u201cnew, never-before-seen\u201d images, with the promise of more to come, though the initial evidence has been generally deemed too vague to be conclusive.<\/p>\n

Reality, then, has provided its share of free publicity for \u201cDisclosure Day,\u201d but it might be equally fair to say that it has let the air out of the movie\u2019s tires. The tread is a bit worn, in any case. Ostensibly set in the present, with many grim, furrowed-brow references to a Third World War on the horizon, the film plays like a throwback to summer entertainments from earlier decades\u2014and not just because the title evokes \u201cIndependence Day\u201d and \u201cTerminator 2: Judgment Day,\u201d two foundational science-fiction blockbusters of the nineties. Koepp\u2019s screenplay samples everything from the sinister government conspiracies of \u201cThe X-Files\u201d to the crop-circle mysteries of M.\u00a0Night Shyamalan\u2019s \u201cSigns\u201d (2002). There\u2019s even a certain nostalgia, verging on na\u00efvet\u00e9, in the prominent narrative positioning of Margaret\u2019s Kansas City news station. It\u2019s touching to think that Daniel and Margaret\u2019s revolution might be televised\u2014 or that American broadcast news, a medium as existentially threatened as it is politically polarized, might turn out to be a vital, globally unifying force.<\/p>\n

In the end, Koepp\u2019s script exaggerates the best and<\/em> the worst of how humans might respond to such a revelation, and Spielberg struggles to split the difference between paranoid-thriller cynicism and his usual mode of emotional uplift. That waffling ultimately strands \u201cDisclosure Day\u201d on a heartfelt yet fuzzy middle ground, with a generalized plea for cross-species understanding that, even bolstered by the reliable stirrings of a John Williams score, left me dispiritingly dry-eyed. Domingo\u2019s Hugo, saddled with one of the movie\u2019s windier monologues, argues for \u201cempathy as an evolutionary advantage.\u201d Rather more persuasive is a peripheral character, Sister Maura (Elizabeth Marvel), a Catholic nun who articulates a benevolently progressive view of faith. The existence of extraterrestrial life, she insists, does not negate the existence of God; it confirms that God is, like the universe he created, infinitely greater than humans realize. (It could be the script\u2019s most topical and intellectually provocative thread, given what the Times<\/em>\u2019 Ruth Graham has called the \u201cunsettling theological implications\u201d of Trump\u2019s alien-data dump for the conservative Christians who form much of his base.)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Spielberg may be a self-professed agnostic, but he believes fervently in certain kinds of miracles, and his film overflows with technological signs and wonders. Scanlon\u2019s most lethal weapon is basically a dental chair, albeit one that allows him to drill into, and control, the minds of his enemies. Margaret, at one point, acquires the ability to turn herself and her comrades invisible, a piece of Houdini-level trickery so pleasing that it threatens to transform \u201cDisclosure Day\u201d into the last thing it needs to be: a commentary on the magic of movies. The metaphor is sealed, I fear, by a bathetic sequence that guides a character into an exact replica of her childhood house\u2014a film set, more or less\u2014so that the traumatic events that once unfolded there can be excavated and exposed. \u201cThe Fabelmans\u201d made a rich feast of domestic angst, but even an artist as innately self-reflexive as Spielberg shouldn\u2019t merely repeat himself. Though \u201cDisclosure Day\u201d teems with intelligent life, it also blurs the line\u2014not the one separating us from them but the one between phoning home and phoning it in.\u00a0\u2666<\/p>\n

Read more Did a Chatbot Write a Prize-Winning Story? Does It Matter?<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Justin Chang reviews Steven Spielberg\u2019s new alien thriller, which has shades of \u201cClose Encounters of the Third Kind,\u201d \u201cMinority Report,\u201d and even \u201cThe Post.\u201d<\/p>\n","protected":false},"author":1,"featured_media":452,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-453","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-current-cinema"],"yoast_head":"\nIn \u201cDisclosure Day,\u201d Steven Spielberg Replays the Hits - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=453\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"In \u201cDisclosure Day,\u201d Steven Spielberg Replays the Hits - 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