That ol’ Spielberg magic powers ‘Disclosure Day’

Yes, we should all be excited that two young YouTubers-turned-filmmakers made “Obsession” and “Backrooms,” the breakout movies of 2026 so far. I can’t wait to see what Curry Barker and Kane Parsons make next.

Now, please welcome back to the stage, the master of big screen spectacle — Mr. Steven Spielberg.

The ambitious and frequently spectacular “Disclosure Day” marks the 79-year-old director’s return to science fiction after several years of more “prestige” fare, notably the semi-autobiographical tale “The Fabelmans” and his remake of “West Side Story.” Both of those, as with most Spielberg efforts, are terrific. Still, there’s always something extra compelling about Spielberg working in science fiction.

With an “aliens are among us” premise, Spielberg’s latest invites comparisons to one of his early classics, “Close Encounters of the Third Kind.” “Disclosure Day,” however, more resembles the chase elements and morality questions contained in “Minority Report” and “A.I. Artificial Intelligence.” In terms of ideas and artistic perspective, “Disclosure Day” feels like the perfect follow-up to all that horizon talk that capped the final scene of “The Fabelmans” crossed with the ideals of “The Post.”

Forgive me for straying too far into Spielberg geekdom. The takeaway: “Disclosure Day” is made by a master filmmaker, so it’s obviously good.

With a story credit by Spielberg and a screenplay by frequent collaborator David Koepp, “Disclosure Day” bites off an ambitious tale about a vast conspiracy to conceal the existence of extra-terrestrials from the public eye. A shady, government-sponsored private organization, headed by Colin Firth, races to contain a leak of spectacular alien evidence stolen by a former employee (Josh O’Connor).

Meanwhile, seemingly disconnected from the A-plot, a Kansas City weather reporter (Emily Blunt) begins to display extraordinary powers, from talking in an unfamiliar language live on air, to reading the minds of the people around her. A whistleblower (Colman Domingo) begins to orchestrate a meeting between O’Connor and Blunt’s characters and, well … lots of chases ensue.

Koepp’s script stumbles over itself with too many scenes of vague explanations about secret alien powers. The plot itself leans occasionally into the absurd — how does a secret government agency effectively conceal the existence of aliens for 80 years when they can’t spot the protagonists cartoonishly hiding behind fences and boulders?

And yet, with the enthralling shot composition, precise editing and throwback score by John Williams, “Disclosure Day” scaffolds one tensely staged scene after another, mixing comedic notes with contemplative moments about the weight of revealing a “higher power” to the masses.

At the center is Blunt in her best performance to date, deftly handling her character’s hasty transition from semi-ambitious TV reporter to conduit of First Contact. She serves as the soul of “Disclosure Day,” ensuring that all its potential for sentimental silliness becomes an afterthought.

It seems as though the finale of the film will be a divisive sticking point for audiences, as its emotional impact hinges on a performance from a character who doesn’t appear until this final scene. It worked for me, as did the film’s potent final beat, though I suppose I’ve always been an apologist for Spielberg’s reputation as a “sentimental” storyteller.

Mileage will vary. “Disclosure Day” isn’t a Spielberg classic. But it’s yet another very good movie with masterful technical execution.

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Tyler Wilson can be reached at [email protected].