Spielberg Shoots for the Stars in Scattershot Sci-Fi Thriller ‘Disclosure Day’

Spielberg Shoots for the Stars in Scattershot Sci-Fi Thriller ‘Disclosure Day’

By Alex McPherson

Bringing together remarkable talent for an underbaked summer spectacle that trades nuance for naiveté, director Steven Spielberg’s “Disclosure Day” is neither compelling enough as popcorn entertainment nor fully invested in its existential ideas.

We’re thrown into the story in media res, as rogue cybersecurity specialist Dr. David Kellner (Josh O’Connor) is on the run with a backpack containing evidence of human-alien contact dating back to the Roswell Incident.

The Wardex Corporation, an arm of the US government led by the stiff-jawed Noah Scanlon (Colin Firth), desperately wants to keep the files hidden from the public.

David, guided by the Morpheus-esque Hugo Wakefield (Colman Domingo), is determined for the world to know the truth, regardless of the ramifications — although society already seems on the brink of World War III due to some vague geopolitical conflict involving Russia and North Korea.

Josh O’Connor as a rogue cybertech expert.

David is accompanied by his girlfriend Jane Blankenship (Eve Hewson), who used to be a nun and is grappling with the potential consequences of what this alien “disclosure” would do for the devout’s belief in God.

Meanwhile, Kansas City television meteorologist Margaret Fairchild (Emily Blunt) is preparing for work one day when a cardinal flies into the apartment she shares with her exhausted and passive-aggressive boyfriend Jackson (Wyatt Russell). After the bird leaves, Margaret seemingly has psychic abilities; she’s able to read minds and understand the emotions of anyone she comes across. 

She’s also able to speak any language, including a bizarre click-clacking extraterrestrial tongue that she deploys during the day’s broadcast. This catches the attention of Wardex, and, soon enough, Margaret is being pursued by them. She eventually crosses paths with David, who she learns she shares a world-altering connection with.

Can they get to safety and reveal the truth before Noah’s goons lock them up and forever relegate the files  to the realm of conspiracy theories?

Emily Blunt as KC weathercaster.

It’s an admittedly decent premise, especially considering the people involved. Spielberg directing, John Williams scoring, Janusz Kamiński lensing, O’Connor, Blunt, Firth, and Domingo among the cast — what’s not to like?

As it turns out, fundamental storytelling issues bring “Disclosure Day” down to size, abandoning the thorniness of “Close Encounters of the Third Kind” or even the lesser emotional pull of “The Fabelmans” for something decidedly messier and devoid of much novel to say.

It’s never less than watchable, but with Spielberg at the helm, shouldn’t we expect more than a boomeristic call for unity that forgets to give its characters much depth?

Five-time Spielberg collaborator David Koepp’s screenplay is wildly uneven, oscillating between broad, crowd-pleasing humor, bursts of cynicism, and blatant sentimentality that never coheres into a truly satisfying identity of its own.

Colin Firth (center, standing) in DISCLOSURE DAY, directed by Steven Spielberg.

To its credit, “Disclosure Day” is an ambitious film, exploring religion, childhood trauma, empathy, government surveillance, journalistic integrity, and extraterrestrial life, Spielberg’s favorite, just without digging into any topic with much detail. 

Characters pay lip service to ideas in exposition-heavy sequences where debates sometimes feel like each person is arguing with themselves, stumbling into revelations without the story unfolding organically.

And we don’t actually know that much about these people to begin with, especially David, as Spielberg drops us into the fray mid-chase and expects us to forge a bond on the fly as bits of backstory are periodically spelled out for us.

Margaret fares marginally better, mostly thanks to an excellent Blunt performance that walks an entertaining tightrope between comedy and drama as her character grapples with the fear and eventual determination stemming from her newfound powers.

Blunt has great comedic timing that makes her endearing regardless of the character’s blandness, as does O’Connor, who proves himself to be a capable Spielberg everyman who can shoulder action sequences effectively. Firth, given even less to work with from a narrative depth standpoint, chews scenery as the villainous Noah.

It might sound like “Disclosure Day” is a near-total misfire, but, on a pure, in-the-moment level, there’s too much impressive craft on display to ignore. Kamiński works overtime framing elaborate (perhaps overly elaborate) long takes and action sequences that are thrilling and full of slapstick carnage.

Williams’ score provides a fitting backdrop to this paranoid thriller, sans much separating itself from the master’s previous works. And Spielberg does take some wild swings here, complete with mind control and some questionably-animated CGI animals, that are unconventional, even if their cumulative effect is more goofy than profound. 

Colman Domingo helping lead the pro-alien faction.

Spielberg has a clear message to share — of how the spontaneous and unexpected can bring us together, and how, as a species, we need to learn to gradually bridge divides and “listen” to each other. “Disclosure Day” speaks to the current moment in 2026, albeit remaining old-fashioned in the ways it delivers its pleas, but it becomes difficult to take seriously amid its loopy, fragmented plotting.

It’s still mildly diverting if one can let the 145-minute runtime wash over them and not expect to have much “disclosed” that prompts more than smirks and eyerolls.

“Disclosure Day” is a 2026 supernatural sci-fi thriller directed by Steven Spielberg and starring Josh O’Connor, Emily Blunt, Colin Firth, Colman Domingo, Eve Hewson and Wyatt Russell. It is rated PG-13 for action/violence, some bloody images and strong language and the runtime is 2 hours, 25 minutes. It opens in theatres June 12. Alex’s Grade: B-

Dense ‘Disclosure Day’ Has Big Ideas but Fails to Spark Much Wonder

Dense ‘Disclosure Day’ Has Big Ideas but Fails to Spark Much Wonder

By Lynn Venhaus

Earthlings, we may not be alone. If you believe that aliens have visited our planet, “Disclosure Day” reinforces that opinion. Just don’t expect the big-ideas film to effectively connect dots or spark much wonder.

Unlike director Steven Spielberg’s superior supernatural sci-fi thrillers, the classics “E.T.: The Extra-Terrestrial” and “Close Encounters of the Third Kind,” this mostly incoherent and inconsistent ramble fails to pull heartstrings and mutes the director’s trademark shock and awe.

Spielberg front-loads the action with shadowy figures at breakneck speed, when whistleblower Dr. Daniel Kellner (Josh O’Connor), rescues his girlfriend Jane (Eve Hewson) from black-clad goons working for the Wardex Corporation.

As part of a rogue movement led by virtuous Hugo (Colman Domingo), Kellner has absconded with archival film footage of aliens here since the ‘alleged’ UFO crash in Roswell, N.M. in 1947. They plan to tell the world at the same time, but Wardex is in cahoots with the government to make sure the evidence remains top secret.

Josh O’Connor plays a cybersecurity expert on the run in “Disclosure Day.”

The chase is on, from farmhouses to backroad motels, and even a convent. Colin Firth is the stony but dapper villain Noah Scanlon, who doesn’t think the world can handle the truth and gets doomsday vibes.

This heartless honcho hell-bent on covering up can manipulate space and time, and is in possession of some alien teleporter gizmo, not without side effects (or explanations).

Meanwhile, Emily Blunt is Margaret Fairchild, an ambitious meteorologist who lives with her musician boyfriend Jackson (Wyatt Russell) in Kansas City. One morning, a red-feathered Cardinal flies into their spacious loft, stares her down, and afterwards, she can speak foreign languages and telepathically knows what is happening in people’s hearts and minds.

Whoa. That is a gamechanger, and she and Daniel are destined to team up. They share an inexplicable psychic bond, similar childhood memories, and keep running.

Emily Blunt is a meteorologist in Kansas City.

O’Connor’s Daniel is a man of many secrets, and his girlfriend has a few too, but backstories are slim – and Firth’s stony villain only glowers, glares and inflicts pain. While this cast of heavy hitters is appealing, no one stands out besides Blunt. It’s one of her best performances.

After 2 hours and 25 minutes of clunky detours, screenwriter David Koepp’s dense mystery, from a story by Spielberg, mercifully wraps up in an iconic yet implausible Spielbergian way. But lacks a wow factor, to leave us wanting more.

This brainiac blockbuster ultimately fumbles because it has too many elements to process. Koepp, one of the most successful screenwriters in the modern era (“Jurassic Park,” and last year’s taut thriller “Blackbag”) has missed before – “Indiana Jones and the Dial of Destiny” and “Indiana Jones and the Kingdom of the Crystal Skull” among them.

The search for intelligent life in the universe is a staple of pop culture sci-fi, and “The X-Files” kept us riveted for years. In recent years, government agencies have posted records on UAP (Unidentified Aerial Phenomena), no longer referred to as UFOs, to identify mysterious events in the sky. There is that reality check.

Colman Domingo, Tommy Martinez, Emily Blunt and Josh O’Connor are part of an all-star cast.

It’s easy to be dazzled by the dream team cast and the elite artisans who worked on creating a spectacle – Janusz Kaminski’s camerawork is impeccable, and so are Adam Stockhausen’s production designs. A nail-biting car-train collision is shades of Indiana Jones in his prime, but fleeting moments do not make a movie.

For his 30th feature film collaboration with Spielberg, John Williams composed a subtler, more minimalist score rather than his familiar grand sweeping melodies.

Arguably among the Mount Rushmore of directors, Spielberg’s best films extol ordinary people in extraordinary situations. But he doesn’t always reach the stars (“The BFG,” “Ready Player One,” “1941.”)  Here, the all-important heart-tugging beats are missing.

Are we seeing anything fresh, or just a fictional rehash of myths and weaponizing misinformation? The truth is out there, but will we ever know it?

Big action scene in a very long chase movie..

And why would belief in other life forms be a dealbreaker for your faith? And why do aliens only visit America? Too many questions and not enough answers, but then again, I tend to overthink science fiction plots.

For those expecting Spielberg magic, the highly anticipated “Disclosure Day” is a letdown.

“Disclosure Day” is a 2026 supernatural sci-fi thriller directed by Steven Spielberg and starring Josh O’Connor, Emily Blunt, Colin Firth, Colman Domingo, Eve Hewson and Wyatt Russell. It is rated PG-13 for action/violence, some bloody images and strong language and the runtime is 2 hours, 25 minutes. It opens in theatres June 12. Lynn’s Grade: C.

The telltale crop circles.

Sparks Fly Between Two Great Actors, But ‘The Judge’ Is Over-Stuffed

Sparks Fly Between Two Great Actors, But ‘The Judge’ Is Over-Stuffed

Editor’s note: This review originally appeared in the Belleville News-Democrat on Oct. 10, 2010. We are running this review because of its resurgence streaming on Netflix.

By Lynn Venhaus
For the News-Democrat

What It’s About: In a clash of acting titans, two powerhouses go mano a mano in “The Judge,” an over-stuffed yet unpredictable dysfunctional family-legal drama.

Oscar winner Robert Duvall (“Tender Mercies”) is a respected judge who squares off with his estranged son Hank, played by Oscar nominee Robert Downey Jr. (“Tropic Thunder”), who reluctantly oversees his defense during a murder trial.

Hank is a slick Chicago lawyer who reunites with his small-town Indiana family after his mother dies. His older brother Glen (Vincent D’Onofrio) was a promising ball player whose career prospects were cut short after an accident. His younger brother Dale (Jeremy Strong) is a developmentally disabled adult living at home.

The tension is thick, underlining simmering resentments and long ago cold shoulders. You’ll find out why when we head into the courtroom, when the cantankerous dad is accused of a hit-and-run accident he doesn’t remember.

Performances: The joy of watching Robert Duvall create an authentic senior citizen to add to his august body of work is reason enough to see this relentlessly hyped film. Add the always electric Robert Downey Jr. and sparks fly.

Since “Iron Man” in 2008, Downey has spent considerable time being action hero Tony Stark, a great screen presence with his jocular manner and rapid-fire verbal riffs. He carries off sarcastic humor like few can, and you know he will make you laugh.

But the guy has serious acting chops. Since his first Oscar nomination for “Chaplin” in 1992, he left the Brat Pack movies behind, and has delivered interesting work (“Zodiac,” “The Soloist,” “Wonder Boys”), fulfilling the promise of his breakout “Less Than Zero” (1987).

So, “The Judge” is one of his smart roles, a touch of scoundrel, but also a smidgeon of the lost boy. The only drawback is that he talks so fast during frequent motor-mouth deliveries that he can’t always be understood.

They are joined by always intriguing Billy Bob Thornton as smug prosecutor Dwight Dickham, noteworthy Vincent D’Onofrio (“Law and Order: Criminal Intent”) and Vera Farmiga, under-utilized as the girl who got away. There is also a surprising turn from Dax Shepard (“Parenthood”) as a bumbling, inexperienced trial lawyer.

What Works: While the characters each have dense backstories, this story is too sprawling. The film is at its best when focusing on the complexities of father and son relationships.

Janusz Kaminski’s cinematography has a nostalgic feel to it, warmly lit to evoke memories of days past. The score by Thomas Newman is appropriately wholesome, with the surprise of Willie Nelson singing Coldplay’s “The Scientist” over the credits

What Doesn’t Work: Director David Dobkin (“The Wedding Crashers”) is in over his head. He is heavy-handed, cramming way too much in multiple story threads, and then under-serving the genuine moments. He needed to pick a tone and stick with it, and his pacing was poor. There is no value whatsoever in being more than two hours’ long.

Vera Farmiga, as Hank’s ex-girlfriend who runs the local diner, seems to be a contrived convenience, and was extraneous to the plot.

Dobkin is responsible for the story that the screenplay by Nick Schenk and Bill Dubuque (“Gran Torino”) is based on, and felt the need to insert tornado-like weather as a metaphor. Oh boy.

Substituting picturesque Massachusetts for bucolic Indiana wouldn’t have been that jarring had it not been for the green mountains on view. Say what? Filmmakers might have researched topography of Indiana.

“The Judge” is the kind of film that is entertaining despite being emotionally manipulative. And the performances keep you watching.

Stars: Two and a half
Director: David Dobkin
Starring: Robert Duvall, Robert Downey Jr., Billy Bob Thornton, Vincent D’Onofrio, Vera Farmiga, Leighton Meester
Rated: R for language including some sexual references
Length: 2:21

Imaginative ‘IF’ Misses Mark to Spark Magic Because of Darker Themes

Imaginative ‘IF’ Misses Mark to Spark Magic Because of Darker Themes

By Lynn Venhaus
On the surface, “IF” looks warm and fuzzy, a relatable story about the power of imagination and how it affects our childhoods. And while there is much to like about the film, the whimsy doesn’t quite live up to the magic it strives to capture.

While being imaginative and heartfelt, it is also sad and dark, which may confuse parents of young children who are unaware of the story’s tragic elements. The 12-year-old heroine, Bea, who has been through some things, faces another potential heartbreak.

Writer-director John Krasinski, who knocked it out of the park with his “A Quiet Place” films, was inspired by his two daughters to make a live-action Pixar movie, and the ambitious concept is a dandy one.

Yet I struggled to make sense of this alternate reality, for the logic doesn’t seem to be there, even in a fantasy. Lonely Bea, dealing with loss and staying with her grandmother while her dad is in the hospital, meets neighbor Cal, who sees abandoned imaginary friends. 

Cal serves as a matchmaker of sorts, finding new pals for IFs to hang around with, and be useful, for their previous childhood buddies grew up. Think of him as the guardian of the portal. He enlists the earnest and creative Bea.

Cailey Fleming is heart-tugging as a guarded Bea, and warms to Carl, wonderfully played by Ryan Reynolds, who appears more vulnerable than his usually jovial characters. His trademark snappy patter is here, but he’s also some emotional heft to display.

As a human, he blends into the visual effects with flair, standing out in two scenes that wow – a splashy dancing sequence and one where he materializes from a painting.

Reynolds’ agility goes a long way in liking Cal, and his story arc that comes full circle in the third act just might bring a tear to your eye, like it did mine. In fact, my tissue got a workout, like when I watched Pixar’s “Coco” and “Toy Story 4.”

The point about the need for human connection is well-taken, particularly after living through the global coronavirus pandemic. The central theme of the film is loss and grief, and the opening montage is comparable to the start of Pixar’s “Up.”

I can’t recommend this for children under 8, and don’t think a PG-rating is enough warning. If you take young children, be prepared to address some heavy questions.

And there are a few disconcerting choices – Bea walks to a bodega late at night alone, and we’re talking New York City (OK, Brooklyn, but…) and grandma (Fiona Shaw) is apparently OK with her wandering the city by herself.

Granted, we can’t shield our children from life’s cruel blows, and even classic Disney films feature death – Mufasa in “The Lion King” and the momma deer in “Bambi” come to mind – but this film’s marketing makes it look like shiny, happy people having fun.

Nevertheless, the all-star voice cast delivers funny and charming characterizations of various creatures, including Steve Carell as Blue, a gentle Muppet-like giant, and Phoebe Waller-Bridge as a cartoonish Betty Boop named Blossom.

In less substantial but full of personality vocal performances are Krasinski’s wife Emily Blunt as an excitable unicorn, Amy Schumer as a high-strung gummy bear and George Clooney as a spaceman (remember “Gravity”?). In his final role, Louis Gossett Jr. is a wise Teddy bear.

Christopher Meloni plays one of the more animated characters, Cosmo, and the who’s who of Hollywood includes Brad Pitt, Matt Damon, Blake Lively, Matthew Rhys, Jon Stewart, Maya Rudolph, Sam Rockwell, Awkwafina, Bill Hader and Keegan Michael-Key. Outstanding talent is assembled, but with so many, not everyone gets moments to shine, more like snippets.

Alan Kim, whose breakthrough role was in “Minari,” plays Benjamin, a hospital patient who befriends Bea, and it’s a sweet, but underdeveloped character

The film does have a striking fairy tale-storybook glow to it, courtesy of cinematographer Janusz Kaminski, who has worked with Steven Spielberg since 1993 and won Oscars for “Schindler’s List” and “Saving Private Ryan.”

Jess Gonchor’s production design is also noteworthy, especially using Coney Island as a fantastic playground for the IFs, as well as a nifty retirement home. Gonchor, longtime collaborator with the Coen Brothers, also created the striking set design for “White Noise,” another difficult world to build. He previously worked with Krasinski on “The Quiet Place, Part II.”

Jenny Eagan’s costume design is delightful, and the army of special and visual effects wizards dazzle with their playfulness.

Krasinski’s heart is in the right place, and the intention is admirable, if not the execution. While the third act redeems the storyline to an extent, the movie fails to live up to expectations, which is a letdown, given the enormous amount of talent involved.

“IF” is a 2024 comedy-drama-fantasy written and directed by John Krasinski, starring Ryan Reynolds, Cailey Fleming, Fiona Shaw, Steve Carell, Alan Kim and Krasinski. Rated PG for thematic elements and mild language, its runtime is 1 hour, 44 minutes. Opens in theatres May 17. Lynn’s Grade: C

‘The Fabelmans’ Lacks That Special Spark of Most Top-Shelf Spielberg Movies

‘The Fabelmans’ Lacks That Special Spark of Most Top-Shelf Spielberg Movies

By Lynn Venhaus

Dear Mr. Spielberg,
Your movies have given my family and I so much joy over the years. I was away at college the summer of 1975 when one warm July night, my roommates and I went to see “Jaws” at the local movie theater. You invented the summer blockbuster, and ever since, all your movies have been an event.

I introduced my children to “E.T.” first, and I still tear up every time I watch it. “Jurassic Park,” “Saving Private Ryan,” “Schindler’s List,” “Raiders of the Lost Ark” and “Lincoln” — you’ve made some of the best films of all-time.

“Bridge of Spies,” “Catch Me If You Can,” and “The Post” are personal favorites, and your adaptation of “West Side Story” was at the top of my Ten Best List last year.

So, I had very high expectations for “The Fabelmans,” especially after viewing the “Spielberg” documentary on HBO. I know it’s “loosely based on your childhood, from age 7 to 18, and it explores the power of how movies help us see the truth about each other and ourselves.

Maybe that adage, “Never meet your heroes” applies here.

Because, while I find the performances exceptional and the production elements superb, your retelling of your ‘semi-autobiographical’ coming-of-age story isn’t as magical as your other films.

THE FABELMANS, from left: Paul Dano, Michelle Williams, Seth Rogen, 2022. ph: Merie Weismiller Wallace / © Universal Pictures / Courtesy Everett Collection

Yes, you followed your dream, but turns out your childhood isn’t all that extraordinary. Except for the reason your parents’ marriage broke up, your early life was like many other kids – divorced parents, dad moving because of work, an artistic kid being bullied and for Jews, antisemitism.

Basically, you had a rather “Leave It to Beaver” childhood, not as vanilla as many a WASP, but fairly typical — your parents loved you and your sisters, attempted to give you a wonderful life, and your dad was a genius engineer.

As a filmmaker, you were too close to the subject matter, and needed to get out of your own way.

When you concentrate on discovering your passion for filmmaking and finding ways to tell a story, now that’s fascinating.

But all that high school drama with the mean jocks, yawn. Except for the Ditch Day film, which really highlighted your gifts and how people are revealed upon observation.

But — two and a half hours? And the best scene is at the end! You stuck the landing beautifully – and that little nod to Charlie Chaplin’s The Tramp before the credits roll, chef’s kiss.

That final encounter on the studio lot gives the film the zest that was missing – and it was the spark that propelled your drive to be in the business.

It’s the best cameo of the year, no spoiler from me!

Gabriel LaBelle as Sammy Fabelman

Your life as a golden boy of cinema has introduced you – and us — to worlds of wonder, and we feel like we know you.

The film is heartfelt and shows how much love you have for your family and the movie-making process. Artists must create and you have been able to make an impact on a global scale. Truly remarkable.

You will be remembered as one of the greatest directors of all time, and we see the effort.

I will wait for the sequel that discloses your early career milestones, breaking through in Hollywood, and the people that shaped you along the way. Now, that story may be the extraordinary one that I was expecting here.

Sincerely, an unabashed fan whose favorite thing is discussing entertainment, and thinks that all of life’s riddles are answered in the movies.

Back to the nuts and bolts for review purposes — Gabriel LaBelle makes quite an introduction as gawky young Sammy Fabelman, who makes movies using his Boy Scout troop as cast and crew.

Paul Dano and Michelle Williams are well-suited to play parents Burt and Mitzi, who bring up four children born during the post-World War II Baby Boom and moved the family from New Jersey to Arizona to Southern California before finally divorcing.

Williams has flashes of brilliance as the mercurial mom, a classically trained pianist whose concert days are past, but the longing isn’t. She’s in love with Bennie (Seth Rogen), Burt’s best friend, and they are eventually together.

When Sammy’s keen eye discovers a little too intimate interaction between the pair during a family camping trip, he’s devastated, resulting in viewing his mother differently. It’s a powerful scene when he shows, not tells, her what he saw.

That conflict is a major focus of the original screenplay co-penned by Spielberg and collaborator Tony Kushner.

A smaller one is his computer whiz dad thinking filmmaking is a hobby and that Sammy needs a more stable career pursuit, but that is a standard trope between artists and scientists. Dano’s quiet demeanor effectively contrasts with Williams’ more flamboyant personality.

Appearing briefly in a slight but showy role that screams supporting actor nomination, Judd Hirsch is an eccentric uncle who used to be in the circus and recognizes a kindred spirit in Sammy.

Young Sammy, who must react to his first film, “The Greatest Show on Earth,” in 1952, is played by standout Mateo Zoryan.

Janusz Kaminski’s cinematography is splendid, so is Rick Carter’s production design, and John Williams has produced a fine score.

But, there is just something nagging about a film that I wanted to be great, but is just good.

“The Fabelmans” is a 2022 drama directed by Steven Spielberg and stars Gabriel LaBelle, Michelle Williams, Paul Dano, Judd Hirsch and Seth Rogen. Rated PG-13 for some strong language, thematic elements, brief violence, and drug use, and run time is 2 hours, 31 minutes. In theaters Nov. 23. Lynn’s Grade: B