Disclosure Day
Directed by Steve Spielberg
Regal Waterford
July 3, 2026
I’ve always been haunted by this quote from science fiction author Arthur C. Clarke: “Two possibilities exist: either we are alone in the Universe or we are not. Both are equally terrifying."
Considering the vast expansiveness of the universe, it’s a fair statement, and one Stephen Spielberg explores in his latest film “Disclosure Day.”
On the brink of World War III, the science fiction thriller follows two strangers who hold the secrets of the universe. Daniel (Josh O’Connor) is a cyber nerd with confidential world-altering knowledge on the run from a powerful NGO. Margaret (Emily Blunt) is a weathergirl with a telepathic form of empathy in search of a higher purpose. Daniel’s girlfriend Jane (Eve Hewson), a former postulant, adds religion into the mix, questioning her faith as she begins to learn Daniel’s secrets – and what this information could do in the hands of the masses.
Colman Domingo and Colin Firth are the good v. evil counterpoints. The former is Hugo, the ally of the pair advocating for truth. The latter is Noah, the NGO villain trying to hide it. One chases, the other rescues; both hold vast secrets we’re drip-fed throughout the film, culminating in a conclusion that leaves us with more questions.
Eyes are a focal point in Spielberg’s cinematic vision (pun intended) with frequent close-ups, use of reflections and framing through mirrors, blades and windows. They invite us to question the act of viewing – who is seeing, how are they seeing it. and is it the truth? A magical sci-fi “thingy” allows Noah to infiltrate Jane’s mind and virtually teleport in front of her, conveyed by swapping Firth’s brown eyes with Hewson’s clear blue irises. The effect is both creepy and informative, distinctly highlighting moments of Jane’s lucidity.
Spielberg cleverly conveys Margaret’s telepathic gift by using a window to layer her reflection on top of that of her subject, literally putting her face on top of his, joining their minds.
Adrenaline junkies will enjoy the myriad chase scenes spread throughout the film, including a car that smashes through a house and a gratuitous, unnecessarily long train sequence where the vehicle attached to the moving locomotive isn’t the only thing dragging.
As Margaret, Blunt skillfully navigates from bouncy weathergirl to superpowered being to terrified mortal, trying to make sense of her complicated path. Her expressions fall mid-thought, freezing and altering to convey the larger power channeling information through her. When she embraces her telepathic empathy to soothe the worries of others, I feel the warmth and genuine caring in her eyes – even if her gift is not entirely altruistic. Her panic attack histrionics following the car/train chase are the only things remotely believable about that scene.
Her dialogue, however, is inconsistent. The film unsuccessfully attempts to use her to create moments of levity through random dry quips, especially when she is her normal self, interacting with colleagues, but it feels awkward. The film is not a comedy (at least not intentionally), and that’s OK. Margaret has enough going on in her life; she doesn’t need to worry about being funny.
O’Connor is solid as the brave, determined Daniel who can literally speak math. He represents the search for truth – like Eve’s apple in the Garden of Eden – even if the consequences are disastrous. Hewson’s Jane gently counters that, questioning if an ignorance-is-bliss stance might be better for humanity. She is not on the absolutist side of Noah, but rather one still trying to understand as she gains more information. Hewson embodies the uncertainties we feel as the viewers as we too try to make sense of things.
Domingo and even Firth are endearing in their roles. They portray their opposing characters with a paternal concern based on what they believe is best for the world. Firth – while he does have some typical villainous greed – doesn’t think humanity can handle the truth. Even his most villainy moments are nuanced.
“Disclosure Day” raises questions about who we are in the grander scope of the universe – and whether we can handle the truth. They are important questions, though ones that are diluted through an unnecessary amount of action chase scenes which makes it harder to take this film seriously. Do you want to be a thoughtful exploration into existentialism or a mindless summer blockbuster?
Still, it’s fun to think about. As Elizabeth Marvel’s Sister Maura notes, Genesis says we are God’s supreme creation – but only on Earth.
