Spielberg’s latest ‘Disclosure Day’ builds to satisfying conclusion
Published 12:38 pm Friday, June 12, 2026
Are we alone in the universe?
It is a theme that filmmaker Steven Spielberg has explored multiple times throughout his iconic career, most notably in “Close Encounters of the Third Kind” and “E.T.”
Spielberg comes back to that familiar theme again with his latest — the highly anticipated summer blockbuster “Disclosure Day.” Working from a script by David Koepp, the film is a little clunky at times, especially in the first half, but builds to a final act that finds Spielberg showing he still has his fast ball. It’s as riveting and satisfying of a conclusion as any film in 2026.
“Disclosure Day” jumps right in with multiple stories that slowly intertwine throughout the film’s (slightly padded) 144 minute run time. Daniel (Josh O’Connor) is an employee for a secret government organization known as Wardex that has stolen top-secret documents and is now on the run with his girlfriend Jane (Eve Hewson) from the head of the organization (Colin Firth, getting to really sink his teeth into a villain role).
As this story unfolds, a Kansas City meteorologist named Margaret (Emily Blunt) has started speaking multiple languages and discovered she can read people’s thoughts just by looking at them.
When she has an episode on live television where she begins speaking what is perhaps an alien language (only Daniel can understand her), she becomes a target of the government agency as well, with Daniel’s co-worker and fellow rogue employee Hugo (Colman Domingo) the only person who can make sense of it all for Daniel and Margaret.
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As the story threads intertwine, “Disclosure Day” uses this story to examine faith and the existence of aliens as well as how much should a government be allowed to keep secret from its citizens.
O’Connor, so good in the last “Knives Out” film, gets another meaty role that showcases his strength as an average guy leading man. Blunt is asked to do a lot of emotional heavy-lifting with a character full of complexities. It’s a task she is up to quite well, balancing everything required quite effectively.
The first two-thirds features multiple chase sequences, some that are Spielberg firmly in his element. But all the chases and pauses makes the pacing slow down just a bit, with the element of mystery intriguing for some, but I could easily see it being frustrating and a deal-breaker for others.
But it all builds to a final act that is vintage Spielberg, a simple set piece full of awe and wonder that rivals even his best films. It’s a masterful final half hour or so that really brings everything together quite neatly, delivering enough to unlock the mystery throughout the film, but leaving just enough to leave the audience wanting more.
The final sequence is a convergence of a lot of talent — from the cast, to Spielberg’s direction, to Janusz Kaminski’s spectacular cinematography to John Williams’ electric score. It’s a satisfying bow on a film that is both challenging and entertaining — an old school summer blockbuster that feels fresh and new.
Grade: B
About Micheal Compton
I am a sports reporter and movie critic for the Bowling Green Daily News.
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