Disclosure Day: Spielberg's Thrilling Alien Encounter Unveiled

It’s hard to imagine how the world might react to the revelation that extraterrestrials are not only real but have been among us here on Earth. It seems like such a mathematic probability that alien life does exist, that if and when we get concrete proof of that it may not cause too much of a reaction, but irrefutable evidence of aliens having visited our planet would likely be a whole other matter. This question is at the core of director Steven Spielberg’s latest sci-fi thriller, Disclosure Day, and he tackles it, along with a few other intriguing questions in a script based on his own story and adapted by his frequent collaborator David Koepp.

Daniel Kellner (Josh O’Connor) is transporting a mysterious object that he stole from his employer Wardex. Operating under the guidance of the mysterious Hugo Wakefield (Colman Domingo), he and his girlfriend Jane (Eve Hewson) are being pursued by Wardex chief Noah Scanlon (Colin Firth), who both wants the apparently dangerous artifact back, but is also after the large cache of highly classified materials that Kellner nabbed on his way out the door.

Meanwhile, Kansas City weatherperson Margaret Fairchild (Emily Blunt), is feeling adrift in life and contemplating making a major change, much to the chagrin of her boyfriend Jackson (Wyatt Russell). While they discuss the future, a cardinal flies into their apartment, lands on their table, and locks eyes with Margaret. After it flies away, she is suddenly dizzy and then mysteriously can now speak languages she’s never known before and read the minds of people she makes eye contact with.

They don’t all yet know it, but most of these characters are connected by powerful forces and these events have set their paths on a collision course that will have significant consequences for themselves and the entire human race.

Spielberg reminds us all how adept he is with action sequences, with one involving cars and trains (and at least partially filmed in nearby Upper Township) being a particular highlight, though the movie may prove a little too talky for some. For others though, myself included, those conversations are thrilling to behold, with their philosophical musings on faith, empathy, and even the very nature of humanity, all through the lens of Spielberg’s usual sentimentality sure to spark much dialog. Some may find his continued belief in our innate goodness to be out of touch with the current state of the world, but I found it a balm against the ever-growing maelstrom of toxicity that surrounds us.

All of the leads give strong performances and most are given meaty moments to truly shine, with Blunt especially having to stretch throughout. John Williams once again delivers a magnificent score, even if its more moving themes don’t get deployed quite enough.

The finale proves surprisingly emotional, eliciting a mix of awe, worry, and ultimately hope reminiscent of the way I felt at the end of his earlier work Close Encounters of the Third Kind. It may all seem like a lot to simply plead with us to open our eyes, ears, and hearts to each other, but the evidence suggests it’s a message that bears repeating. That it was done by a master of the form, still at the top of his game, allows one to hope that maybe this time it will stick. ★★★★½