Legendary auteur Steven Spielberg may have explored different genres throughout his illustrious directorial career, ranging from the creature feature (Jaws) to action-adventure (the Indiana Jones quadrilogy), historical epic (Schindler’s List), war film (Saving Private Ryan), and even musical (the 2021 remake of West Side Story). As creatively versatile as Spielberg may be, his lifelong fascination with the sci-fi genre is what truly defines his work. He doesn’t approach the genre merely from a technological or fantastical angle, often grounding it in relatable human emotions and psychology, with cinematic know-how and special-effects wonder. Which is why his celebrated works like Close Encounters of the Third Kind, E.T., and Jurassic Park still resonate today.
Spielberg’s latest film, Disclosure Day, his first sci-fi in eight years since Ready Player One, continues to prove why he’s the master of the genre, even with a few blemishes. The story – credited to Spielberg’s frequent screenwriting collaborator David Koepp – doesn’t waste time getting down to business as we first see Daniel Kellner (Josh O’Connor) being targeted by a group of agents from a shadow organization known as Wardex, with Noah Scanlon (Colin Firth) leading the team to retrieve the stolen device from him.
The device turns out to be a crucial plot point that sets everything in motion, and what you need to know is that Daniel and his girlfriend, Jane Blankenship (Eve Hewson), are now on the run. Daniel’s only reliable contact is Hugo Wakefield (Colman Domingo), who apparently entrusted him to keep the device safe. Complicating matters is the introduction of Margaret Fairchild (Emily Blunt), a meteorologist from a Kansas City television station, who lives with her boyfriend, Jackson (Wyatt Russell). One day, they witness something strange yet beautiful: a bird flies into their apartment, and from there, Margaret unwittingly finds herself with unique abilities. Not only can she speak different languages fluently, but also capable of reading someone’s mind by just staring into their eyes.
At one point, there’s an extended sequence where Janusz Kaminski’s camerawork seamlessly tracks through a busy news studio as Margaret, who’s already running out of time to get ready for the live weather report, culminates in a bizarre scenario: She begins to speak in alien language, shocking everyone on the set. It’s worth noting that despite Spielberg already being 79 years of age, he remains as sharp as ever when it comes to visual filmmaking. The kind that impresses you with the way he and longtime collaborator Janusz Kaminski use the camera to their advantage.
The memorable tracking shot aside, Spielberg also showcases his technical expertise in mounting propulsive action set pieces, particularly the chase scenes. This is especially true with Margaret and Daniel’s car being wedged underneath the speeding train, causing the vehicle to drag along the track after a collision with one of Noah’s men. The scene itself is top-tier Spielberg, combining practical stunts and VFX with John Williams’s score elevating the overall visceral car-and-train moment.
Speaking of Margaret and Daniel, how and why the two eventually cross paths is gradually unfolded with Spielberg’s approach to the storytelling, equivalent to watching a thriller straight out of the Hitchcockian territory. What keeps me invested in Disclosure Day, particularly during the thrilling first two acts, is Spielberg’s insistence on keeping us wondering just as much as these protagonists are trying to figure out what is going on. He even paces his movie like a 1970s paranoia thriller, and it helps that the actors are truly committed to their roles.
Josh O’Connor brings a grounded quality to his role as Daniel Kellner, while Colin Firth’s clinical antagonist character as the remorseless Noah Scanlon is subtly played without succumbing to an over-the-top portrayal. But it was Emily Blunt who had my attention the most, whose scene-stealing performance as the neurotic Margaret Fairchild easily ranks as one of the best in her acting career. When she ends up suffering from an unusual psychological breakdown that leaves her looking bewildered, she doesn’t overact but rather remains in control throughout the movie.
As much as I enjoy Disclosure Day, the movie is without its fair share of flaws. The 145-minute runtime tends to feel like it needs tighter editing. The CGI, even with the movie reportedly carrying a $115 million budget, is a mixed bag — the scene with the animals quickly comes to mind. Then, there’s the third act, which leaves me with mixed feelings about the way Spielberg chooses to wrap things up with the titular culmination. All I can say is the ending gets overly expository for its own good, complete with Spielberg’s penchant for mawkish sentimentality.
Despite the shortcomings, Disclosure Day remains an engrossing cinematic experience, proving that Spielberg still has it in him.
