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Manuel São Bento

Check out my full review @ https://www.manuelsbento.com/disclosure-day-2026-a-breathtakingly-human-paradigm-shift-in-modern-sci-fi/

Rating: A-

DISCLOSURE DAY is a fascinating, deeply hopeful return to sci-fi for Steven Spielberg, beautifully championing the concept of truth as a fundamental human right. Subverting the destructive tropes of typical alien invasion flicks, it favors radical empathy and genuine human connection over blockbuster chaos. Emily Blunt delivers a sensational, potentially career-best performance that anchors a truly incredible ensemble cast. Driven by exceptional camera work and a sweeping pace, it stands as one of my favorite films of the year so far. I cannot wait to see it again!

Brent Marchant

Director Steven Spielberg’s filmography is legendary, to say the least. Movies like “Jaws” (1975), “Close Encounters of the Third Kind” (1977), “Raiders of the Lost Ark” (1981), “E.T.: The Extraterrestrial” (1982), “Schindler’s List” (1993) and “Jurassic Park” (1993) have gone down as classics in the annals of filmmaking. And, even though some of his works in more recent years haven’t quite lived up to the quality of past efforts, it’s comforting to know that he’s still got what it takes when he gets behind the camera. This is where his latest release, “Disclosure Day,” comes into play, easily his best picture in years. This sci-fi/conspiracy theory/personal discovery thriller sports a multifaceted narrative that’s probably too complex to detail here, but that’s likely to be beneficial to viewers who walk into the theater knowing little, if anything about it in advance. In fact, I’d actually recommend approaching this offering from that standpoint to allow it to wash over you organically, to experience and wrap yourself up in the sense of awe and wonder it evokes without the hindrance of too many preconceptions. The one thing I will say about it is that it’s more than just another picture about UFOs and space aliens. While it’s true that formal disclosure about the coverup of an extraterrestrial presence on Earth over the past 80 years is at the core of the storyline, there’s much more going on here, imbuing the title with multiple meanings involving other subjects, including those of a personal and spiritual nature, adding depth to what might have otherwise been merely a more conventional science fiction movie. This becomes apparent through the film’s myriad story threads, which start out seeming disparate and unrelated, much like what happened at the beginning of “Close Encounters.” But, as this picture unfolds, connections develop showing how they all ultimately coalesce, just like in its predecessor. Some have called this kind of storytelling improbable and unrealistic, but many of us have undoubtedly seen this happen in our own lives, and, when that occurs, it doesn’t seem nearly so farfetched (so why should it be any different in a work of cinematic fiction?). Of course, grasping the connections, nuances and meanings in this requires devoting sufficient attention when watching the movie, so, if you’re unable or unwilling to do so for a film with a 2:25:00 runtime, you might want to skip this one. That would be regrettable, though, given that Spielberg is back at the top of his game here, telling a story with the same skills he has brought to so many other releases over the years in terms of depicting a compelling plot, building suspense, executing gripping action sequences and providing appropriately timed comic relief. He also provides a comprehensive palette of ufology-related topics, some of which are well known and others of which are more obscure (references that fans of Coast to Coast AM radio and The X-Files TV series will surely appreciate), but all of which are sufficiently explained without requiring ample viewer foreknowledge. And Spielberg has a lot of help bringing all this into being thanks to the insightful screenplay of David Koepp, the original score of composer John Williams (arguably his most mature work ever), and the superb performances of an ensemble cast featuring Emily Blunt, Josh O’Connor, Colin Firth, Colman Domingo, Eve Hewson, Wyatt Russell and Elizabeth Marvel. I’d heartily recommend watching this on as large a screen as possible (e.g., IMAX), and please pay no heed to the trolls voicing their uninformed opinions in trying to inexplicably tear this one down. “Disclosure Day” is about as nearly a perfect piece of filmmaking as one can envision. In fact, if I had to register a complaint of any kind here, it might be that the final act could be seen as being a little stretched out, but that’s such a minor criticism that it’s hardly worth mentioning. Savor all of the various forms of disclosure being served up in this release, as you may end up drawing upon them to discover aspects about yourself that you never knew before – and enabling you to walk out of the theater at the end a different person than who you were when you went in and into a different world than what you knew before.

Andrew Herzman

If this film was released in 1979-85 I probably would have loved it. Now that I'm 61 instead of 14, I see the world much differently. I really wanted to like this, since CE3k is one of my all-time favorite movies and Spielberg has never let me down so far. The production was terrible. JJ Abrams style lens flares all over the place that were nothing but distracting. The CG animals looked fake. The scenes that were supposed build tension, were boring and predictable. Who could have guessed the aliens would look like that? (Sarcasm). Since I worked at NBC's 30 Rock, I just had to laugh at how fake that was. Even John Williams' sound track had no ooomf.

**A Movie Made by Dinosaurs, for the Dinosaurs**

I wanted to like Disclosure Day. The premise—a government agent racing to expose classified alien contact—should be tense, urgent, relevant. Instead, what we get is a film so divorced from how the actual world works that it feels like it was written by people who've been in a bunker since 1987.

The core problem: when your protagonist needs to leak classified information in 2026 or whenever this is supposed to happen, why in God's name are we watching them scheme about getting it done through a news room? The movie shows thumb drives, AI, all this modern tech—and then treats a television newsroom like it's the only lever that matters. It's nonsensical. If you want to burn a government secret to the world, you don't need Walter Cronkite anymore. There are better platforms on the internet. The infrastructure exists. The filmmakers simply have no clue how modern information systems work.

And then there's the blandness. The villains have no depth—why do they actually care about keeping this secret? The heroes have no passion—what's driving them besides a vague sense of duty? There's no tension, no stakes that feel real, no reason to invest in anyone on screen. It's hollow. The whole thing is just hollow.

Disclosure Day isn't terrible. It's worse: it's boring. Please let it remain undisclosed!

Chris Sawin

The filmmaking aspects of Disclosure Day are impressive, and they should be, considering Steven Spielberg’s illustrious career and the people he continues to work with, but the story feels so elongated for no reason, with no real conclusion, and the dialogue and humor are so awful when there is so much of each.

https://bit.ly/DiscDay

So.... the disclosure is an information dump and really is nothing.  Everyone is an idiot.  The special effects are poorly done CGI which is disappointing for Speilberg.  It misses all the conspiracy theory beats that Close Encounters had.  Everything that the movie should show you, that you want to see comes in the form of an information dump and everything that could have come in an information dump is what you see.

Movie sort of sucks... sort of really sucks.

CinemaSerf

I blame Christopher Nolan: this film is far, far, too long. The concept is quite interesting and complex, and the first half hour tees things up intriguingly but thereafter it just disappoints with a surfeit of dialogue and very little menace before delivering a conclusion that for someone who worked in live television for thirty years is implausible bordering on the downright preposterous. "Daniel" (Josh O'Connor) has a narrow escape from the nasty "Noah" (Colin Firth) who wants to get back a mysterious glowing device that he has pinched. Meantime, television weather forecaster "Margaret" (Emily Blunt) takes a bit of a turn. Inexplicably, she can now speak fluent Korean and then passes out at the prospect of telling Kansans that hail is looming. How could these two events possibly be connected? Well that's what we find out as the mother of all, very extended and somewhat repetitive, car chases gradually fills us in on a plan being co-ordinated by "Hugo" (Colman Domingo - the only man so far who actually needed to speak with an American accent) that isn't really understood by anyone - including himself! Is there something extra-terrestrial afoot here? All the while the world is facing another existential crisis over some military antics on the Korean peninsula and so maybe mankind is doomed anyway and all this burning rubber is for nought? This film is a wet dream for conspiracy theorists the world over, but with little by way of characterisation it's lacking in depth, detail, humour or soul. It's overly trading on the name of it's director/writer and relying on some visual and occasional animatronic effects that we've been getting more and more used to ever since "ET" forty-odd years ago. This isn't a bad film, it just isn't a very good one and I reckon nobody will remember it for long. It is a cinema must, though, if you do want to see it. It will look extremely bland on the television and after a while that fast-forward button might prove irresistably tempting. 

Nick

Spielberg still has it. Blunt delivers a career-best turn as a meteorologist whose encounters spiral into a paranoid conspiracy chase that splits the difference between Minority Report and Close Encounters. Williams' score soars, the blocking is gorgeous, and the back half genuinely got me. Loses half a star for a baggy script and a finale that pushes too hard for tears. Still one of his best in years.