By Ben Miller
Let's make an assumption, shall we? Let's assume Steven Spielberg, one of the most consistently successful and acclaimed filmmakers of the last 50 years, knows what he is doing. You might go into his new sci-fi thriller Disclosure Day expecting a certain kind of film, but that's on you, not him.
"That wasn't what I was expecting" is the death knell for films. This has very little to do with the quality of the film itself, but more to do with the marketing and filmmaker expectations. Even if your expectations were met exactly, isn't that boring? Wouldn't you rather be surprised instead of sitting in the theater for two-and-a-half hours with your arms crossed? Film should open up your expectations and show you something you weren't expecting. Spielberg subverts his own filmmaking while simultaneously conforming to it. Doesn't that sound great?
Well, it is great. Disclosure Day might not be E.T. or Close Encounters of the Third Kind, or even War of the Worlds, but the morsels are there. In reality, 90% of the film plays out closer to Minority Report and Munich or a Spielberg version of a paranoia thriller. There are safe houses, car chases, close calls, burner phones, and cheap motels. Spielberg spends a whole lot of time to prepare you for the last 30 minutes of the film. Do you want to know what he doesn't do? Insult your intelligence.
Spielberg is a filmmaker and human who obviously sees the best in people. He assumes empathy and goodness will win out in the end. That respect for humanity extends to his audience. Instead of spoon-feeding you with gobs of exposition, the film literally kicks you in the face (seriously, the opening shot is a boot to the camera) and drops you in the world. Things move fast and events start happening. People are introduced with little fanfare and continue through their lives with their own motivations. These are characters with backstory, but you don't need to get too bogged down with the details. It's more interesting to be along for the ride.
Despite the large scale and the worldwide implications, the film only focuses on five characters. Daniel Kellner (Josh O'Connor) is a cybersecurity expert who steals a piece of alien technology and evidence from his employer, Wardex. Chief Wardex executive Noah Scanlon (Colin Firth) is attempting to retrieve the information before it's released to the public. Daniel's fellow whistleblower Hugo Wakefield (Colman Domingo) awaits Daniel and has a plan to release the information.
Meanwhile, Kansas City meteorologist Margaret Fairchild (Emily Blunt) begins exhibiting psychic behavior and speaks an alien language during a broadcast. While Wardex seeks Margaret, she begins to experience visions which lead her to Daniel. Jane Blakenship (Eve Hewson), Daniel's girlfriend, tags along and discovers the truth while also unwittingly playing a part in Noah's schemes. The whistleblowers and Margaret look to expose Wardex to the world while Noah will do anything to stop it.
Plot-wise, the film comes from an interesting perspective. This is a film where the marketing makes it pretty clear what the characters are attempting to "disclose" as well the importance of that disclosure. Frankly, that's never in question. The drama isn't inherently in the veracity of the information, but if and when the information will be presented and how it will be received. This is a film that can't really be spoiled, even if you tell someone the climax. It's a film about the quest and filling in the missing pieces, not about the end result. The fun is in the journey, not the destination.
Ever the showman, Spielberg knows how to do a set piece, even if he doesn't necessarily attempt to make everything as big as possible. The alien technology allows Noah to "dive" into another human and control their actions and see through their eyes. Noah does this to Jane in an attempt to stop Daniel. The action consists mostly in a contained room with actors sitting across from each other, but it's never anything less than enthralling. Spielberg goes out of his way to weaponize Hewson's strikingly colored eyes for the sake of plot development.
Blunt gives one of her best performances, diving in and out of hysteria, serene competence, steadfast resolve, and unintentional courage from scene to scene. The film asks quite a lot from Margaret as a character, but Blunt is up to the challenge at every opportunity. O'Connor doesn't have as much to do as Blunt, but does get a few opportunities to shine when the action calls for it. He is probably the most superfluous character, but also the most mysterious.
Firth, dialing up the bureaucratic menace at will, delivers a fine performance as the main antagonist. Domingo, ever the welcome presence, has a standout scene with Firth in the film's third act which allows the two veteran thespians to play off each other nicely. Hewson doesn't have as much character development as other characters, but plays a vital role in the proceedings. Elizabeth Marvel shows up as a sage for Hewson's character, while newcomer Courtney Grace blows the doors off on a late-film scene you will certainly remember. Even Wyatt Russell is along for the ride as Margaret's oblivious boyfriend.
The Spielberg repertory players are all along for the ride. Janusz Kaminski bathes the film in the grays of morality and otherworldly lens flares, while John Williams' delivers his usual workmanlike score. Spielberg can't help himself with a lot of his usual touchstones, including the Spielberg face, the family unit, religion tied to identity, and his interest in the extra-terrestrial. He doesn't go to the well too often, though. It feels fresh for a man well into the later stages of his career.
As long as you go in without expecting a certain type of film, Disclosure Day is exceptional sci-fi entertainment. It's safe to assume Spielberg knows better than you, so give yourself over to the experience.
Score: B+