Disclosure Day (Steven Spielberg, 2026, USA/Canada/New Zealand/Japan)

Disclosure Day is Steven Spielberg’s latest feature, and his first return to the sci-fi genre in almost a decade. It also brings him back into collaboration with David Koepp, the screenwriter behind some of his biggest successes, including 1993’s Jurassic Park. Set against a backdrop of renewed interest in UFOs and various government disclosures around them, Disclosure Day is a conspiracy thriller that in effect operates like one big chase scene. Disclosure Day is a bit clunky, and perhaps a lesser film in Spielberg’s canon. In many ways, it feels like a film from the 80s or 90s. This perhaps can be attributed in no small measure to Spielberg’s age - at almost 80, we can’t assume that he will be as relevant as he once was.

With Emily Blunt and Josh O’Connor as our protagonists in two stories that will ultimately converge, Colin Firth is the antagonist and head of an organization that seeks to keep the truth from the world, and Colman Domingo as a strange leader figure who is bringing Blunt and O’Connor’s characters to the truth, there is no shortage of star power in Disclosure Day. Even regular Spielberg collaborators Janusz Kaminski (cinematography) and John Williams (score) are on hand. John Williams is 94. Unfortunately, the score here is not particularly memorable (it also feels like there is a lot of dead air where there should be music in the film).

The film’s assumption of the traditional news media playing a major role in media consumption in 2026, as well as the general public’s trust in that traditional news media, is perhaps the film’s most antiquated touch. That said, there is a lot to be admired in the film, and even Spielberg’s weaker films are filled with symbolic and subtle resonance that lend them to repeat viewings.

6/10