‘Disclosure Day’: Religion, politics and aliens play out in polarising sci-fi

Marketing can make or break a film, and in the case of Disclosure Day, I think it did more harm than good. The trailers promised something closer to Denis Villeneuve’s Arrival or even a full-scale alien spectacle, E.T., Close Encounters of the Third Kind.

Thanks to the trailer, I went in expecting a film centred on aliens, only to discover that Spielberg’s latest is not an alien movie in the traditional sense. It is a sci-fi thriller first, with aliens woven into its fabric.

Think of The Fugitive or Enemy of the State, then add a layer of secrets around extraterrestrials in the background. That’s the core of Disclosure Day. It’s a story about a whistleblower, a meteorologist, and a powerful organisation chasing a MacGuffin tied to aliens. The aliens are present, but they’re not the focus.

This mismatch between expectation and reality explains why so many viewers online are calling this the worst Steven Spielberg movie. The trailer sold Arrival, but Spielberg gave us a conspiracy thriller that has the potential of becoming a conspiracy theorist's bible.

What am I on about?

Disclosure Day is a 2026 American science fiction thriller directed and produced by the legendary, one of the most influential filmmaker of our generation, Steven Spielberg, from a screenplay by David Koepp based on a story by Spielberg himself. The film stars Emily Blunt, Josh O’Connor, Colin Firth, Eve Hewson, and Colman Domingo. The movie has a budget of $115 million.

The plot follows Daniel Kellner (Josh O’Connor), a cyber-expert who leaks evidence of extraterrestrial life from the shadowy Wardex Corporation. His actions put him on the run; the story also follows Margaret Fairchild (Emily Blunt), a meteorologist who develops strange abilities after a mysterious encounter. Together, they must release decades of cover-up footage to the global public, while dodging those determined to silence them.

Something to note, the first act is build-up, so it might be slow to some. Think of the mystery in the box and onion that slowly peels as you enter the second act. Basically, it has a slow start and picks up as you get into the second act.

From the opening frames, Spielberg’s seasoned style is evident. His unmistakable blocking style is here, people are always on the move, his camera is always kinetic, and his scenes are layered with active foreground, mid-ground, and background. Even when the story loses focus, the direction never does.

As expected from the director, the single takes are there, with one extraordinary one-take sequence following Emily Blunt’s character that showcases his ability to choreograph complex scenes and motion.

Janusz Kamiński’s cinematography adds atmosphere, with visually pleasing compositions that add cohesion to a somewhat complex plot. Yes, the CGI occasionally drops, especially with the animals, and yes, the lens flare pops up at some point, but the overall look is striking.

The thing I have always appreciated about Spielberg movies is that there is always clarity of direction; you always know where the story is heading, even if the plot itself feels unnecessarily convoluted.

Performances

This is not just an Emily Blunt film. She carries the narrative with intelligence and energy, embodying a character who is both vulnerable and resourceful. Her linguistic sequences, where she does something around communication (am try to avoid spoilers), are particularly impressive.

But Josh O’Connor is the centre of the story as the whistleblower, though his role is more reactive. Colin Firth, playing the villainous Noah Scanlon, leans into the archetype of the British corporate villain.

His presence makes it immediately clear who the antagonist is, and while his motivation is basic, his performance is effective, his introduction from a technical filmmaking point of view is very cool. Colman Domingo and Eve Hewson provide strong support, but Blunt and Josh O’Connor remain the focus.

This is not an all out action movie, it is a thriller, but there is a very thrilling train sequence involving a car that is filled with tension and danger, reminding us of who is behind the camera. The other chase scene is serviceable but nothing intriguing.

Disclosure Day explores geopolitics, religion, and conspiracy culture. The film taps into decades of alien conspiracy lore, touching on some of what conspiracy theorists have long made noise about in the dark corners of the internet. For those immersed in that world, the film will be even validating and enjoyable.

Religion is woven in through Jane’s arc (Josh O’Connor’s spouse in the movie), raising questions about faith, power, and the possibility of higher beings. To a certain extent, this thematic layer adds depth, making the film more than just a chase thriller. Compassion and human connection also surface as recurring motifs, grounding the spectacle in some form of emotional stakes, which I couldn't buy because of the convoluted plot.

John Williams’ score gives us the sound of classic Spielberg blockbusters. It may not be the most memorable soundtrack of his career, but it reinforces the film’s tone and scale. For audiences who grew up with Spielberg’s films, the music will feel nostalgic.

Flaws

The biggest issue is in the writing. The plot is unnecessarily convoluted, and the marketing misled audiences into expecting a different kind of film. Aliens (bodies) don’t appear until around the 40-minute mark, and even then, that first sighting is on a screen within the film rather than directly on screen.

The ending is also something that had me involuntarily laughing. A late twist, a deus ex machina, feels cheap and too convenient. While it technically fits the story’s logic, it undermines the tension built up to that point. Okay, let's just call it what it is, it was lazy writing.

Villains are one-dimensional, their motivations basic. Think of the classic 80s and 90s one-man-army villain. They serve the plot but lack complexity. Still, their presence provides enough menace to keep the stakes high and you, as the viewer, entertained.

Disclosure Day is not Independence Day, not War of the Worlds, and not Arrival. It’s a conspiracy thriller with aliens somewhere in the mix. It's a film that tries to be many things at once. If you go in expecting an alien-centric spectacle, you’ll be disappointed. If you forget the trailers and embrace it as a Spielberg thriller with sci-fi elements, you will not walk out screaming "that is the worst Spielberg movie ever"

It’s well-shot, good performances, very intense at moments and thematically ambitious, even with its imperfections there is something to enjoy. Marketing may have damaged its reception, but judged on its own terms, Disclosure Day is a solid sci-fi thriller. Not the film of the year, but a film worth seeing, especially for Emily Blunt’s performance and Spielberg’s craftsmanship.

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