Steven Spielberg is no doubt a fantastic filmmaker with a spectacular career. But when it comes to his recent filmography, things have been rough. Sadly, that trend continues.
The latest movie from the notable director stars Emily Blunt as Margaret Fairchild, a Kansas City-based meteorologist at a local station who, after a strange encounter, acquires the ability to speak several languages, as well as some telepathic power. Meanwhile, cybersecurity expert Daniel (Josh O’Connor) is on the run from a nefarious company.
The group, led by Noah Scanlon (Colin Firth) is chasing Danile and his girlfriend Jane (Eve Hewson), because he’s carrying evidence of the government covering up alien life. As the film goes on, the paths of Daniel and Margaret are on a collision course, as the former knows something needs to be revealed, and the latter realizes she has to bring something to light.
This is a film that should be right up my alley. I loved “The X-Files.” I was engrossed with the “Alien Autopsy” when it aired on FOX in the 90s as a kid. I regularly listen to UFO-centric podcasts like “Somewhere in the Skies,” “Fade to Black” and “Into the Parabnormal,” along with old episodes of Coast to Coast AM featuring the late Art Bell.
It all makes “Disclosure Day even more of a let down. It also continues a poor track record over the last decade with Spielberg’s work, with “The Post” earning the highest score of 3 out of 5 back in 2017.
Since then, his filmography has included 2018’s shallow adaptation “Ready Player One” (2 out of 5), a “West Side Story” lacking heart (2.5 out of 5) in 2021, and 2022’s underwhelming “The Fabelmans” (2.5 out of 5). “Disclosure Day,” though, is perhaps the worst of the bunch.
It’s rather astonishing, too, considering Spielberg has put out some great work in the past when making movies about the subject of aliens. Both 1977’s “Close Encounters of the Third Kind” and 1982’s “E.T. the Extra-Terrestrial” are both films that explore the subject matter quite well. His latest picture, though, is woefully lacking.
Unlike some other films in his resume, a noticeable issue with Spielberg’s latest picture is just how incredibly bland the whole thing really is. The movie tries to set up stakes and pressure for its characters, from the leads being on the run with little rest, to a potential nuclear war breaking out.
The problem is that potential war is barely explained, so there’s no context for the conflict, and much of it just feels like background noise without any impact. Putting its characters on the run, meanwhile, doesn’t just automatically make the film more intense. This portion of the film, mostly taking place with Daniel, is largely generic.
There’s little that actually connects what Daniel and Jane are going through to the alien elements of the feature. It’s a stereotypical approach of characters trying to get away from the government/secret organization/evil company because they’re carrying something special.
The aspects revolving around UFOs, aliens and a conspiracy to cover things up, as well as how humanity reacts and interacts with such, is all fascinating material. However, the movie doesn’t fully get into it until the 11th hour, and by then it’s too little, too late. That’s not to say there needed to be Martians running around the whole time, either.
Yet the film could have done more interesting things with the premise than what was shown. In recent cinema, with the likes of “District 9,” “Nope,” “Arrival,” “Bugonia” and even the independent picture “The Vast of Night,” these types of ideas have been captured in much more compelling fashion. As previously mentioned, Spielberg himself has done better with the idea, too.
That’s not to say “Disclosure Day,” written by David Koepp, doesn’t dig into some intriguing themes. Whether that’s how those of faith my react to realizing there’s life beyond Earth, or the importance of getting the raw truth out to the public, as well as the general wonder associated with aliens visiting our planet.
But none of it is delivered with much meaning. For example, Jane, a Christian, is disturbed with how the presence of aliens may relate with her faith. However, this aspect is portrayed in a rather dull manner. There hardly seems like a real internal struggle over what she learns is taking place, instead coming across like Jane’s dialogue on the subject is just paying lip service to a checked box on a social commentary card.
M. Night Shyamalan’s filmography obviously isn’t as strong as Spielberg’s. However, there’s no doubt his approach to exploring faith in the midst of an alien situation in 2002’s “Signs” was more effective.
The other matters spotlighted in the film through the other characters don’t offer much richness to the feature, either. Roswell, Area 51, the Phoenix Lights and other such phenomena are very much part of the public consciousness, but when it comes to Daniel who’s learned details about the truth behind this, there’s a complete lack of awe or passion.
He seems desperate, sure, and is clearly stressed about the situation. As previously mentioned, though, this is more driven by the generic man on the run structure. Everything related to the alien phenomenon mostly comes across like window dressing. It’s abstract until a finale that doesn’t feel fully earned.
On top of all that, the flick faces an enormous headwind with the character Margaret. Watching her journey as she spazzes out, rightfully disturbing her boyfriend played by Wyatt Russell, all while road tripping from Point A to B to C is largely forgettable.
Her ability she appears to have received from aliens, which accounts to her knowing the personal lives of whoever she comes into contact with, just gets lame after a while. It’s simply not that great of a hook to get a person invested.
Blunt is an Academy Award nominee with plenty of sci-fi experience in both “The Edge of Tomorrow” and “A Quiet Place.” Yet her talent ultimately feels wasted in this unmemorable protagonist, as most of the time Blunt just has this confidently confused demeanor. She gets across the character’s fear of the situation, but other than that, it’s not a particularly engaging performance.
She at least adds more personality than O’Connor, though. Some of the blame has to go to Koepp’s screenplay of course. However, O’Connor’s Daniel just lacks any real character or fervor. It’s a far cry from his suburb work in last year’s “Wake Up Dead Man.” It’s largely a similar case with Eve Hewson as Jane.
Oscar winner Colin Firth and nominee Colman Domingo, meanwhile, do at least provide the film with some energy. Admittedly, they do play archetypes, with Firth as the big bad head of an agency, and Domingo as the wise man who has the answers. While both figures are fairly standard in entertainment, though, the performers give each some dramatic weight, enhancing what’s taking place.
To give credit where it’s due, the technical abilities of Spielberg as a director are also on display. There are some good set pieces here, especially a few exciting car chases, all of which are well crafted. There’s also a nicely created mechanic incorporated during moments where mind control comes into play. It’s not like this movie is without positives, and these pieces are praiseworthy.
However, those bits don’t rescue a film that is underwhelming at best and frustrating at worst. It’s a picture with some spectacle thanks to the filmmaking, but is rarely captivating, riveting or enchanting the way this subject matter should be. Instead, it’s a largely tedious experience offering little to engage an audience with. 1.75 out of 5.
