Technically, this is his third visit to this specific territory. Some might count War of the Worlds as a fourth, but I personally see that as a different type of project. War of the Worlds approached aliens mainly through the lens of invasion and survival, while Close Encounters of the Third Kind and E.T. were built around something very different: curiosity, communication, wonder, and the magical uncertainty of what exists beyond our world.

That is what makes Disclosure Day an important occasion. This isn’t just a random filmmaker making a science-fiction adventure. This is Spielberg returning to a language he helped define.

And maybe that is exactly why I found myself struggling with a question I usually hate asking: what is this movie trying to say?

I normally dislike that question because not every movie needs to carry a message. Some films exist purely to entertain. Some simply want to tell a story. Some want to observe characters or explore the absurdity of existence without offering a direct conclusion. Cinema is much bigger than the idea of decoding a hidden lesson.

But with Spielberg, and especially with this type of Spielberg movie, it is hard to ignore the feeling that there is something he wants to communicate.

Disclosure Day follows cybersecurity expert Daniel Kellner, a former employee of a secret organization responsible for protecting information about alien existence and communication attempts with extraterrestrial beings. After deciding to steal these secrets and expose them to the world, Daniel becomes a fugitive alongside another former member of the organization, Hugo.

During this chase, local weather presenter Margaret Fairchild unexpectedly becomes connected to the mystery, showing signs that place her at the center of a much larger conflict.

The basic message seems to be about humanity’s right to know the truth. The idea that ordinary people deserve access to information about their own planet, instead of governments and powerful institutions deciding what we are allowed to understand.

That is a perfectly respectable idea.

The problem is that I struggled to understand why this message feels urgent today.

The way Disclosure Day handles this conflict feels like it belongs to another time. The entire concept of exposing the truth depends on reaching a television broadcast. The proof that will supposedly change human history is built around releasing secret footage to the world.

But we live in an age where social media has completely changed how information spreads, and artificial intelligence has completely changed our relationship with visual evidence. Today, people can literally see something happen and still debate whether it is real or fake.

So the idea that a few videos broadcast on television would instantly transform human belief feels like a concept that would have been much stronger twenty or twenty-five years ago.

Even the smaller details support that feeling. Secret communications through phones that must immediately be destroyed after use, physical evidence being transported from one location to another, old-school methods of hiding and revealing information. There is a nostalgic quality to all of this, but there is also a sense that the movie doesn’t completely belong to our current reality.

Unless, of course, the second and crazier possibility is true.

Maybe Spielberg actually knows something.

Maybe Disclosure Day is not a movie at all. Maybe this is Spielberg warning the American government that he has the secrets and he is ready to reveal everything.

And honestly, that might be the more exciting explanation.

Away from its message and its position in Spielberg’s career, Disclosure Day works mainly as one long chase. A chase with several different sides, shifting perspectives, and constant movement.

From that angle, the movie is good. Sometimes very good.

Not unforgettable. Not one of those adventures that will be remembered as a defining cinematic experience. But there are moments where you can clearly see the Spielberg touch.

Two sequences in particular represent the film at its best.

One of them barely depends on traditional action. It is more of a psychological confrontation, a battle of minds, and it creates tension through uncertainty rather than movement. The second is a garage sequence built around a simple idea executed with great imagination.

That has always been one of Spielberg’s greatest strengths.

Some filmmakers create new cinematic tools. Someone like James Cameron, for example, looks at a technical limitation and decides to invent a new way around it. Spielberg’s magic is different. He can take the same pieces everyone else has, the same camera, the same location, the same actors, and somehow arrange them in a way that feels fresh.

In those moments, Disclosure Day reminded me of the Spielberg I love.

Unfortunately, not every part of the chase reaches that level.

Some sequences are just ordinary, and others are surprisingly weak. The biggest example is a long car chase that depends heavily on characters making strange decisions just so the chase can continue. There are moments where it feels like someone could easily end the conflict, but they don’t because the movie still needs another scene.

The villainous side suffers from a similar issue.

At times, the threat feels overwhelming. These people have resources, information, and complete control over the situation. Then suddenly that advantage starts disappearing in ways that are not always convincing.

The central object everyone is fighting over also creates mixed feelings. The movie builds the entire conflict around a device without ever clearly defining the limits of what it can or cannot do.

On one hand, that is confusing.

On the other hand, it is fun.

The mystery keeps the adventure alive, even when the logic behind it isn’t completely satisfying.

The cast is another major strength. Disclosure Day is packed with recognizable names, and their presence adds a lot of weight to the experience.

There isn’t a single performance that I would describe as exceptional, but everyone delivers exactly what the movie needs.

Josh O’Connor and Emily Blunt are especially important because they keep a human connection alive inside a story dominated by secrets, organizations, technology, and ideas.

The closest thing to a standout performance is probably Colin Firth, but even that performance is limited by the way his character is written. There are moments where the movie wants him to represent a powerful threat, but the character design itself doesn’t always support that.

Technically, the movie is obviously well made. The score has personality and knows how to support the adventure without overwhelming it.

Visually, though, I have a strange problem.

There is nothing wrong with the way Disclosure Day looks. It is a Spielberg movie, and the craft is always there. But after some time away from it, I struggle to remember a specific image that stayed with me.

And that is unusual for Spielberg.

Close Encounters, E.T., Jurassic Park, Minority Report, Saving Private Ryan; whether you love these movies or not, they leave images permanently printed in your memory.

I’m not sure Disclosure Day does.

And maybe that summarizes the entire experience.

As a standalone science-fiction adventure in a world full of sequels, prequels, spin-offs, and endless franchises, Disclosure Day is something worth appreciating. It is entertaining, ambitious, and contains moments that remind us why Spielberg is Spielberg.

But as the grand return of Steven Spielberg to aliens, wonder, and science fiction?

That is where expectations become much higher.

My rating for Disclosure Day is: 7/10.

A Stunning Visual Experience

Ad Astra tells the story of a space adventure set in the near future. Astronaut Roy McBride is tasked with traveling to Neptune in order to communicate with his father. His father, Clifford McBride himself was tasked with exploring the possibility of intelligent life far into the solar system 30 years ago, but nothing was heard from his station in 16 years and he was presumed dead, until life threatening power surges start hitting the earth and were traced back to the “Lima Project” .. Roy’s father project. The journey is long and filled with dangers as well as self explorations from Roy.

There are two key problems with the film in my opinion. First, the lack of direct connection between the stages of our adventure and what we should conclude from them and second how incredibly slow the entire movie is. It’s not subtle, it’s not calm, it’s not serene .. it’s simply slow. Slow to the extent that I fought sleep .. several times. It really baffled me how a film containing chases, fights, attacks and breathless struggles for survival can possibly be described as slow, but it is, and not just around those moments .. actually through them. You know the chase scene from the trailer with the two space vehicles firing at one another? I almost slept through that!!

Ad Astra is a mildly complicated film and a very complicated condition. I can say that I understand it & it doesn’t take much thinking to do so. The philosophy is clear and the message is directly spoken. I’m obligated by my own claim of honesty to say that I didn’t enjoy it. Yet I can never deny the so many things that I truly admired. There are multiple factors that ought to help this film stand out in the middle of all of the space films. Director and co-writer James Gray managed to pull what was almost deemed impossible; Find fresh ideas to present into space. How would a commercial flight to the moon look like in a serious sense? If technology is always driven by military research and targets luxury once publicized, how can that merge into the real world of space? Would you like to learn how to sneak into a ride to a different planet? This film shows you how, and it’s all presented in an astonishing visual experience. So crisp and so realistic and also so artistic in the selection of set design and colouring.

Thankfully we have all the time in the world to admire the visual experience because of how, unfortunately, slow everything moves. Of course I understand how the pace helps in serving two purposes; First, to reflect the surround of space where everything, even if deadly, moves slow, and second, to put us in the state of mind of our hero who’s embracing, and suffering from loneliness. However, it does hinder the adventure layer very badly. I rarely ever felt thrilled in any situation the film offered, with the exception of the very first perhaps. The thing that kept me excited about the sequence of events is a journey of our hero and that was because of the authenticity of the experience and the magic of the visual experience like I said, and before them of course comes the performance of Brad Pitt. It’s one of the rarest occasions where I really see him working outside of his comfort zone. Playing an introvert character with so little speech and so little emotions on the surface. Yet completely successful in connecting the viewer to the feelings of his character with the slightest of expressions. One of his best performances for sure but I would say it’s not the kind preferred by the academy.

Ad Astra is a significant film, an original film, a smart film, an impressive film. Look, I’ll surrender to any positive label that can come to mind, except enjoyable. The film chose to stay true to its surround and set the priority of his character exploration above the actual cinematic experience, and in that it failed to be another Blade Runner 2049. It also declined to commit to the artistic classification and forced various adventurous scenarios that didn’t always connect with its philosophy, and in that it failed to be another 2001: A Space Odyssey .. by a long distance .. and I’m not even a big fan.