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Steven Spielberg’s ‘Disclosure Day’: What the Critics Are Saying – Hollywood Reporter
The sci-fi thriller, starring Emily Blunt, Josh O’Connor, Colin Firth and Colman Domingo and featuring an epic score by the great John Williams, hits theaters on June 12.
The master makes movie magic once more!
That’s how critics are reacting to Steven Spielberg‘s latest film, the sci-fi thriller Disclosure Day, which sees the legendary filmmaker return to the topic of extraterrestrial beings and the philosophical implications of our place in the universe.
Disclosure Day tells the story of a U.S.-government led conspiracy to keep the existence of intelligent alien life a secret, and how those plans are upended by small determined group committed to “disclosing” the truth to a world on the brink of war and annihilation.
The film stars Josh O’Connor, Emily Blunt, Colman Domingo, Colin Firth, Eve Hewson and Wyatt Russell. Disclosure Day is written by Spielberg’s frequent collaborator David Koepp and the film’s creative team features Spielberg regulars like cinematographer Janusz Kaminski, editor Sarah Broshar and the great composer John Williams.
Reviews for the Universal Pictures started the hitting the internet on June 9, with the film set for a full global theatrical release on June 12. Currently Disclosure Day sits at 84 percent on Rotten Tomatoes after 138 reviews. The film’s score on Metacritic currently sits at 74.
The Hollywood Reporter‘s David Rooney was effusive in his praise for Disclosure Day, writing that “no living director better understands the magic of movies.” Rooney writes that the film has a “shared DNA [that] can easily be traced to Close Encounters and E.T. But as is fitting for a filmmaker pushing 80, awestruck innocence now co-exists with a more ruminative maturity, especially when touching on the secrecy, manipulation and deception of governmental power.” He adds, “as much as Spielberg’s early sci-fi, the new film kept taking me back to the moral and philosophical questions posed by 2002’s brilliant Minority Report.”
Impressed by the depth of the film, Rooney writes, “There are allegories that can be read about fear of the unknown breeding cruelty and exploitation, but Disclosure Day is first and foremost a propulsive yarn with thematic roots in hope, truth, empathy and perhaps even spirituality.”
In his 4 star review, the venerable Guardian critic Peter Bradshaw had fun with the “very enjoyable and entirely ridiculous space-alien conspiracy adventure” that is Disclosure Day, adding that the film “is cheerfully mischievous and deadly serious in equal measure.” “Only Spielberg could get away with taking two of the world’s best-known hoaxes – Roswell and crop circles – and treating them with judicious deadpan respect,” writes Bradshaw. “With heartfelt idealism, Spielberg also asks us to believe that should the ultimate truth come out, people everywhere would be terribly upset at the way captured aliens have been vivisected.”
IndieWire‘s David Ehrlich also praised Spielberg’s commitment to earnestness, despite making essentially a “fun and goofy popcorn movie.” Pondering the deeper significance of Disclosure Day, as well as the filmmaker’s advancing years, Ehrlich writes that with this film “modern cinema’s most unbounded storyteller has observed the siloification of life in the 21st century, it makes sense that he’s turned inward to understand why people are only growing further apart.” The critic reassures Spielberg fans that they will love the movie, writing, “A lifelong fantasist who’s matured into a master without ever growing up, Spielberg — now a half-century removed from Close Encounters — continues to delight in telling stories about regular people being subsumed into larger-than-life spectacle, and he’s as giddy as ever about replicating that experience for his audience.”
In another 4-star review, Empire‘s Dan Jolin writes that Disclosure Day seems every bit as personal to Spielberg as his last film, the semi autobiographical The Fabelmans, and that the filmmaker’s “pulse can be felt in every frame.” “Shot largely on 35mm film and buoyed by a stirring John Williams score, Disclosure Day feels like a welcome flashback to Proper Grown-up Cinema in this era of CG drenching,” writes Jolin. “Spielberg’s fluid visual mastery is evident throughout, including some delicious grace notes. In one scene, a TV-forecasted hailstorm is cheekily foreshadowed by a close-up of tumbling breakfast-cereal hoops; in another, the director frames a reflection of Blunt’s face in the back of a security guard’s crew-cut as Margaret snatches his thoughts: she is literally in his head. The film also features some of Spielberg’s best action in years, including a gripping high-speed train sequence that tugs you right back to his vintage Indiana Jones era.”
Vulture‘s Bilge Ebiri echoes the sentiment among critics that Disclosure Day is another extremely personal film from Spielberg. Ebiri writes that “Spielberg has always had one foot in the horror genre. Even though he hasn’t directed a horror movie since Jaws, his vernacular is that of horror, of unseen figures in the dark, of unspoken terrors and childhood traumas… In so many of his films, Spielberg tries to control and redefine something that is, on some level, unknowable and petrifying. There’s a similar feeling throughout Disclosure Day that the characters are confronting something traumatic and trying to find a way to the other side.” Ebiri adds, “Disclosure Day can be messy, but much of its beauty lies in that messiness. It’s an astoundingly personal film, and we can sense Spielberg trying to feel his way through the conflicting aspects of his vision.”
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Am I the only one who would like to see a regular Robin Hood movie where he’s dressed in green, is a hero, steals from the rich and gives to the poor? It was over 30 yeas since the last one.
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Am I the only one who would like to see a regular Robin Hood movie where he’s dressed in green, is a hero, steals from the rich and gives to the poor? It was over 30 yeas since the last one.
I’d rather see a contemporary movie where Robin Hood is a used car salesmen working for an unscrupulous boss who pushes his staff to lie to customers in order to make a huge profit selling defective piece-of-shit vehicles to old ladies and naive young couples. Sort of like Glengarry Glen Ross, but with bows and arrows.
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I’d rather see a contemporary movie where Robin Hood is a used car salesmen working for an unscrupulous boss who pushes his staff to lie to customers in order to make a huge profit selling defective piece-of-shit vehicles to old ladies and naive young couples.
Robbin’ Hoods
4 users thanked author for this post.
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Am I the only one who would like to see a regular Robin Hood movie where he’s dressed in green, is a hero, steals from the rich and gives to the poor? It was over 30 yeas since the last one.
I’d rather see a contemporary movie where Robin Hood is a used car salesmen working for an unscrupulous boss who pushes his staff to lie to customers in order to make a huge profit selling defective piece-of-shit vehicles to old ladies and naive young couples. Sort of like Glengarry Glen Ross, but with bows and arrows.
Isn’t that just Cadillac Man?
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Am I the only one who would like to see a regular Robin Hood movie where he’s dressed in green, is a hero, steals from the rich and gives to the poor? It was over 30 yeas since the last one.
I’d rather see a contemporary movie where Robin Hood is a used car salesmen working for an unscrupulous boss who pushes his staff to lie to customers in order to make a huge profit selling defective piece-of-shit vehicles to old ladies and naive young couples. Sort of like Glengarry Glen Ross, but with bows and arrows.
Isn’t that just Cadillac Man?
Did Tim Robbins have a crossbow in that? I forget…
2 users thanked author for this post.
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‘Disclosure Day’ Touches Down With $44 Million Opening, ‘Obsession’ Defies Gravity in Week 5 – Hollywood Reporter
Steven Spielberg’s UFO movie will be his top opening for an original movie, while Curry Barker’s horror hit is the rare movie to have four consecutive weekends bigger than its opening.
The original summer movie filmmaker met the new generation of directors this weekend, with Steven Spielberg’s Disclosure Day entering the fray amid a summer dominated by Gen Z hits Obsession and Backrooms.
Spielberg’s $115 million budgeted UFO will land at around $44 million domestically and $93.9 million globally this weekend, a solid start for the filmmaker’s first popcorn movie in eight years, since he released Ready Player One to $53.7 million in North America on its way to $583.5 million globally.
It will become Spielberg’s top-grossing opening weekend domestically for an original feature, as well as his company Amblin’s biggest original opening.
The film is appealing to older audiences, with 59 percent over 35, while 57 percent of the audience is male.
The Oscar-winning filmmaker conceived of the story, and then handed it off to his Jurassic Park screenwriter David Koepp to pen the sci-fi thriller about the race to reveal that extraterrestrial life is among us. Emily Blunt and Josh O’Connor are among the cast, with critics granting it strong reviews and audiences giving it a B CinemaScore.
Curry Barker’s word-of-mouth hit, Obsession, continues to breathe rarified air at the box office and is expected to bring in $19 million in its fifth weekend, declining just 25 percent. It will hit No. 2 and is the rare movie to have four consecutive weekends bigger than its opening ($17.2 million). The feature has broken numerous records for Focus, including becoming its biggest movie domestically and globally for the studio. It looks to end the weekend with a domestic haul of $188.3 million.
In international markets, Obsession is pacing ahead of horror hits such as Weapons, Nosferatu and Sinners at the same points in their lifespans. It is expected to end the weekend with $77.5 million internationally for a global haul of $265.8 million.
Paramount holdover Scary Movie is expected to hit No. 3 in its second weekend, with around $15 million and a decline of around 70 percent, while Kane Parsons’ Gen Z hit Backrooms is bringing in $11.2 million in its third weekend, to bring its domestic haul to a hefty $160 million. Globally, it will end the weekend at $262.3 million. The A24 film cost just $10 million to produce and is based on Parsons’ series of viral YouTube shorts.
Amazon MGM Studios’ Masters of the Universe is a non-factor in its second weekend, where the pricey adaptation of the Gen X favorite is expected to gross $9.2 million, declining 69 percent.
Michael, meanwhile, continued its record-breaking run, with Lionsgate’s Michael Jackson film becoming the top-grossing biopic of all time in recent days, adding $4.6 million to its domestic haul this weekend with its global tally topping the $911 million collected by Queen biopic Bohemian Rhapsody.
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