Steven Spielberg returning to science fiction was always going to invite comparisons with Close Encounters of the Third Kind and E.T. the Extra-Terrestrial, and Disclosure Day does little to discourage them. Yet rather than making the alien encounter itself the centrepiece, Spielberg and screenwriter David Koepp build their film around the far more human question of what happens when the existence of extraterrestrial life can no longer be kept secret. Cybersecurity specialist Daniel Kellner (Josh O’Connor) discovers evidence that the government and the mysterious Wardex organisation have been hiding the truth, prompting him to go on the run with Jane (Eve Hewson). At the same time, meteorologist Margaret Fairchild (Emily Blunt) begins experiencing inexplicable phenomena that draw her into Daniel’s increasingly dangerous mission. Colin Firth makes for an imposing adversary as Wardex chief Noah Scanlon, while Colman Domingo brings an intriguing ambiguity to the role of Hugo Wakefield. The premise gives Spielberg plenty of room to explore questions of faith, trust, empathy and humanity’s ability to deal with information that could fundamentally alter its understanding of the world.
The problem is that Disclosure Day does not always know how to balance those ideas with the blockbuster thriller it also wants to be. Much of the 145-minute running time is occupied by chases, conspiracies and characters trying to stay one step ahead of Wardex, while the more interesting philosophical material often remains just beneath the surface. The central ideas are worthwhile, particularly the suggestion that humanity’s greatest strength may be its capacity for empathy rather than its technological or intellectual achievements, but some of the government intrigue feels familiar and the character development can be frustratingly thin. Margaret’s personal trauma and Jane’s crisis of faith are important to the story, yet the rapid pace leaves little opportunity for either to become as emotionally involving as they could have been. There is also a sense that the film spends an awfully long time building towards its revelations, making the comparatively restrained nature of the eventual disclosure potentially underwhelming for anyone expecting another full-blown Spielberg alien spectacle.
That said, Spielberg remains remarkably good at staging suspense and making complicated action easy to follow. Even when the screenplay becomes bogged down in exposition, the filmmaking itself rarely does. The chase sequences have a clear sense of geography and cause and effect, while several individual set pieces demonstrate the director’s ability to create tension without turning the screen into visual chaos. Emily Blunt is particularly effective, selling Margaret’s confusion and fear without allowing the character to become merely a passive observer, while O’Connor, Firth and Domingo all give the material considerably more weight. There are also moments of classic Spielberg craftsmanship, including extended camera movements and carefully composed sequences that remind viewers why the director’s return to this genre remains an event in itself. Not every digital effect is equally convincing, however, with some of the computer-generated animals and other imagery looking somewhat artificial.
That filmmaking quality translates extremely well to the 4K UHD presentation. The disc presents the film in 2160p HEVC/H.265 with both Dolby Vision and HDR10, retaining the 2.39:1 theatrical aspect ratio. The production itself combined 35mm film with several high-resolution digital formats, and the resulting image retains a convincing cinematic texture rather than attempting to scrub away the characteristics of its source material. Fine detail is excellent, grain is naturally resolved and blacks are deep, while the slightly muted color palette faithfully reflects Janusz Kaminski’s deliberately subdued photography. Dolby Vision adds useful depth to darker scenes, computer displays and extraterrestrial imagery, although the HDR presentation is more restrained than spectacular. That is arguably appropriate for a film whose visual identity leans toward atmosphere and realism, but viewers expecting aggressive HDR highlights may find the presentation somewhat conservative.
The English Dolby Atmos soundtrack is considerably less restrained. The mix creates an expansive soundstage with excellent separation and directional effects, while the low-end gives everything from vehicle engines to major action sequences considerable weight. The train sequence is particularly impressive, combining powerful bass with debris, impacts and movement across the surround field. Rain, thunder and other environmental effects make effective use of the height channels, while John Williams’ score is given plenty of room to envelop the listener. Dialogue generally remains clear despite the dense mix, although the sheer force of the Atmos presentation can occasionally make voices less distinct when listening through basic television speakers. Those with a properly configured surround system, however, are unlikely to have many complaints – this is the type of audio you bought that Atmos system for.
Universal’s collection of extras is smaller than the presentation might suggest, consisting primarily of two pieces. The highlight is Encountering the Unknown: Inside Disclosure Day, a substantial 54-minute making-of documentary directed by Laurent Bouzereau. It goes beyond a simple promotional featurette in places, covering the film’s conception, sets, practical effects, digital work, stunts and the creation of its alien technology, while interviews with Spielberg and members of the cast and crew add useful context. Some of the material inevitably carries the polished tone of a studio production piece, but the behind-the-scenes footage and production details make it worthwhile viewing. The four-minute Spielberg & Williams: A Legendary Collaboration is much shorter, but its look at the director and composer reaching their 30th film together provides a fitting tribute to one of cinema’s most enduring creative partnerships.
Ultimately, Disclosure Day is an interesting rather than entirely successful return to Spielberg’s science-fiction roots. Its ideas about truth, belief and empathy are more compelling than some of its familiar conspiracy-thriller mechanics, and the film occasionally feels as though it is taking a long route toward a destination that could have been reached more effectively. Nevertheless, strong performances, assured direction and a handful of genuinely suspenseful sequences keep it engaging, while the optimistic core gives the film more substance than its chase-thriller framework initially suggests. Universal’s 4K release then gives it an excellent home-video presentation, with filmic and detailed imagery, a powerful Dolby Atmos soundtrack and a worthwhile making-of documentary. It may not rank alongside Spielberg’s finest science-fiction achievements, but for fans of the director, the format and the genre, this is a technically impressive way to revisit his latest extraterrestrial mystery.