Steven Spielberg’s Disclosure Day arrives with a premise that should be irresistible to science fiction fans. At its core is a question that has fascinated people for generations. What happens when humanity finally learns, beyond all doubt, that intelligent life exists elsewhere in the universe? It is a concept packed with possibilities, yet despite its scale, star power and sizeable budget, the film never fully capitalises on its potential.
The story centres on cybersecurity expert Daniel Kellner, played by Josh O'Connor, who steals classified documents and alien technology from Wardex, a covert branch of the US government. The files reveal decades of extraterrestrial contact and alleged cover-ups dating back to Roswell. Pursued by Wardex director Noah Scanlon, portrayed by Colin Firth, Daniel goes on the run alongside his girlfriend Jane Blankenship. Elsewhere, Kansas City meteorologist Margaret Fairchild, played by Emily Blunt, begins experiencing unusual psychic abilities after an encounter with a mysterious bird. As her powers intensify, she becomes drawn into the wider conspiracy and eventually crosses paths with Daniel as both seek to reveal the truth to the world.
Emily Blunt delivers the film’s strongest performance by some distance. Even when the screenplay struggles, she remains engaging and believable. Margaret is by far the most interesting character in the story, and Blunt brings enough emotional depth to the role to maintain interest during the film’s weaker stretches. Without her performance, the film would be considerably harder to sit through.
For the most part, the visual effects are impressive. The alien technology, psychic elements and larger science fiction sequences are realised with confidence, and there are moments when Disclosure Day genuinely looks spectacular. Spielberg and his team still know how to create cinematic scale, and the production values are exactly what audiences would expect from a major studio release.
That said, there are a handful of visual effects shots that are surprisingly poor. The computer-generated animals are particularly bad, standing out for all the wrong reasons. In a film released in 2026, some of these moments are difficult to excuse. Rather than enhancing the experience, they occasionally become unintentionally distracting and even laughable.
Unfortunately, strong visuals can only carry a film so far.
Despite revolving around alien contact, secret programmes and world-changing revelations, Disclosure Day often feels strangely dated. Instead of feeling like a bold modern thriller, it frequently resembles a poorly written later-season episode of The X-Files. The story constantly introduces new twists and revelations, but very few land with the impact they should.
The biggest failure is the handling of the central premise itself. A film built around proving the existence of extraterrestrial life should be gripping, provocative and thought-provoking. It should leave audiences debating its ideas long after leaving the cinema. Instead, Disclosure Day repeatedly hints at something extraordinary without ever delivering a truly satisfying payoff.
The timing of the film’s release does it few favours. Public discussion surrounding UFOs and unexplained aerial phenomena has become increasingly mainstream in recent years, particularly following the release of additional UFO-related files during the Trump administration. As a result, material that may once have felt shocking or groundbreaking now feels oddly familiar. Much of the film comes across as though it belongs to an earlier era, with the entire project feeling more suited to the early 2000s than 2026.
The film’s depiction of public reaction is also difficult to accept. When the truth is finally revealed, much of the population appears glued to their phones, calmly absorbing the information. In reality, such a moment would likely provoke a far wider range of responses. Some people would dismiss it outright, others would claim it was artificial intelligence generated content, while many would simply refuse to believe it. With trust in institutions and traditional media at extremely low levels, the film’s portrayal of universal acceptance feels unrealistic and unconvincing.
The lengthy running time only compounds the problem. At well over two hours and twenty minutes, Disclosure Day often feels bloated. Several sequences drag unnecessarily, particularly during the middle section, where the pacing slows to a crawl. There are numerous moments where the audience is left waiting for the story to regain momentum.
The supporting cast does what it can. Colin Firth brings authority to Noah Scanlon, Colman Domingo adds some weight as whistleblower Hugo Wakefield, and Eve Hewson delivers a solid performance as Jane Blankenship. The problem is not the actors. It is the screenplay. Despite the generous running time, many characters remain surprisingly underdeveloped.
The ending is another major disappointment. After spending so long building towards a grand conclusion, the film ultimately arrives at a finale that feels underwhelming. Rather than delivering a memorable payoff, it leaves a lingering sense of anticlimax. When the credits rolled, my immediate reaction was simply, "Was that it?"
Perhaps the most surprising thing about Disclosure Day is how little excitement it generates. Spielberg built his career on creating wonder, excitement and a sense of possibility. Here, that spark is largely missing. The film takes itself incredibly seriously, yet never earns the significance it constantly tries to project.
Spielberg also seems increasingly disconnected from younger audiences. Disclosure Day will likely appeal most to older viewers, and Spielberg’s name alone will undoubtedly attract plenty of cinema-goers. Whether those viewers leave feeling satisfied is another question entirely.
Disclosure Day may find commercial success thanks to its director, cast and subject matter, but judged purely on its own merits, it falls well short of expectations. Emily Blunt is excellent and much of the visual work is impressive, yet neither can compensate for a story that feels outdated, overlong and frequently dull.
I expected far more.
Score: 5 out of 10
Out in cinemas now.
