--- title: "Disclosure Day" year: 2026 kind: "film" canonical: "https://film.one/film/disclosure-day" fi1m_id: "disclosure-day" imdb_id: "tt15047880" tmdb_id: 1275779 wikidata_id: "Q126683577" fi1m_score: 68 critics_score: 65 critics_reviews: 7 published: "2026-09-09" updated: "2026-09-18T08:37:43.006186+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Disclosure Day (2026) Directed by Steven Spielberg · 2h 26m · MPA PG-13 · Science Fiction, Thriller ## Identity Disclosure Day - **Canonical:** https://film.one/film/disclosure-day - **Type:** Film - **Fi1m ID:** disclosure-day - **IMDb ID:** tt15047880 - **TMDB ID:** 1275779 - **Wikidata ID:** Q126683577 - **Same entity:** https://www.imdb.com/title/tt15047880/, https://www.themoviedb.org/movie/1275779, https://www.wikidata.org/wiki/Q126683577 **Fi1m score: 68** · Critics 65 from 7 reviews *In a sentence:* The weather forecaster picks up something in her head, and John Williams picks up his brass > Spielberg’s alien conspiracy chase is fluently made and Emily Blunt is a pleasure in it. But the mystery behind all the running is second-hand, the film is twenty minutes too long, and the awe it keeps promising arrives late and sentimental. ## Synopsis Margaret Fairchild (Emily Blunt) is a television weather forecaster whose life is ordinary until something changes in her mind that she cannot explain or control. The change draws attention, from people who want to understand it and from people who would rather nobody did, and she is soon running, with Dr Daniel Kellner (Josh O’Connor) beside her and more people interested in her than she would like. Colin Firth, Colman Domingo, Eve Hewson and Wyatt Russell fill out the people helping her or hunting her, and the question of what the public deserves to know about visitors from elsewhere hangs over all of it. Steven Spielberg directs from a screenplay by David Koepp. It runs 146 minutes and carries a 12A. ## Review Steven Spielberg has gone back to the aliens, and this time he has arrived by way of the conspiracy thriller. Margaret Fairchild (Emily Blunt) is a television weather forecaster. Something happens to her mind that she cannot explain, people take an interest, and for most of 146 minutes she is running. David Koepp wrote the screenplay from a story by Spielberg, and the two of them have built a capable chase. What they have not built is a mystery worth the running. It is a good evening, and a long one. Blunt is the reason to go. She plays Margaret as a woman used to being looked at and not listened to, so that when the strange abilities arrive she treats them first as an embarrassment and only later as a danger. She is quick, funny and frightened in the right order, and she can carry an exposition scene by looking as if she does not believe it either. Josh O’Connor’s Dr Daniel Kellner is the still one, and he underplays so completely that Blunt has something solid to bounce off. Colin Firth as Noah Scanlon and Colman Domingo as Hugo Wakefield are given less than their billing suggests and are good in what they have. Eve Hewson and Wyatt Russell work around the edges of the hunt. Janusz Kamiński’s camera moves almost constantly, in long takes that follow a body through a door, down a corridor and out into the weather without a cut, and the chases are legible in a way that has become rare: you always know where everyone is and which way they are going. Adam Stockhausen builds ordinary rooms and lets the film disturb them, which is the right idea for a story about the extraordinary turning up at work. Sarah Broshar cuts fast and clean, and for the first hour the pace reads as confidence. John Williams supplies a big brass theme that promises wonder every time it appears, and it appears often. The score is asked to carry the awe that the pictures keep postponing, and it cannot do it alone. The trouble is what the chase is about. Koepp’s script takes its alien business from the cover-up stories the rest of us have been hearing for fifty years, and does not add much to them. When the film reveals things, we recognised them rather than felt them. There is a threat to the world somewhere behind all this, mentioned often and never made real, so the stakes stay abstract while the running stays literal. The second hour explains a great deal and the explanations are the least interesting thing in it. Here is what we felt. For the first hour we were entirely with it; the first time the film stops moving and lets Blunt sit still and be scared of her own head, we were gripped, and we did not care that we could not yet say why. Somewhere past the two-hour mark we noticed we were wondering how much longer, and then we were cross, because a film about wanting to know should not make us want it to stop. The final stretch reaches for tears. The reaching shows. Against Spielberg’s own record, *Close Encounters of the Third Kind* (1977) is the obvious comparison and the unkind one. That film let a man stare at a mountain for what felt like a long time, and the staring was the point. *War of the Worlds* (2005), which Koepp also wrote, was the sharper chase because it never pretended to be about more than getting a family through a night. *Disclosure Day* wants the stare and the sprint, and it gets the sprint. See it in a cinema if you can. The running was built for a big screen and the score for a big room, and at home the 146 minutes will feel like more. Take someone who still wants to believe, and do not expect to be told anything you have not already heard. It carries a 12A. *Fi1m score 68, published 9 September 2026.* ## What the critics say Most critics like Disclosure Day, and the praise clusters in two places. The first is Emily Blunt, named in almost every review as the reason to watch, with Josh O’Connor a frequent second. The second is the direction: the reviews agree that Spielberg still stages a chase with fluid camera movement and clean action, and several read the film as a plea for empathy and curiosity over suspicion. The reservations are about wonder. Variety finds the film leans on decades of familiar alien lore rather than building fresh awe, and the Los Angeles Times goes further, calling it hectic and short on the quiet that made his earlier alien films land. Others mention a plot that works as a flimsy MacGuffin, some hokey lore, a sentimental ending and a runtime that could be tighter. The spread is wide, running from enthusiastic to plainly disappointed, but the enthusiasts outnumber the doubters by a clear margin. ## Straight answers **Is Disclosure Day worth watching?** *Disclosure Day* is worth watching for anyone who wants a well-made alien conspiracy chase with Emily Blunt at its centre, and we scored it 68. Blunt is quick, funny and frightened in the right order, and the chases are easy to follow. But the mystery behind the running is second-hand, the film is twenty minutes too long, and the awe it promises arrives late and sentimental. **How long is Disclosure Day, and what is it rated?** *Disclosure Day* runs 2h 26m and is rated PG-13 by the MPA in the US. It is a science fiction and thriller film. **Where can I watch Disclosure Day in the US?** *Disclosure Day* is available to rent from Amazon Prime Video from $9.99. Availability is checked daily; the links above go straight to each service. **How violent or frightening is Disclosure Day, and is it suitable for children?** *Disclosure Day* carries a 12A and is a chase thriller rather than a horror, so it is more tense than gruesome. The frightening moments come from a woman scared of what is happening inside her own head, not from gore or monsters. Older children who can sit through 146 minutes should be fine; younger ones may find the length harder than the content. **How does Disclosure Day compare to Close Encounters of the Third Kind?** *Disclosure Day* is the sprint and [*Close Encounters of the Third Kind*](https://film.one/film/close-encounters-of-the-third-kind) is the stare, and the earlier film is the better of the two. Spielberg's 1977 film lets a man gaze at a mountain and makes the wonder persuasive; the newer one keeps running and keeps postponing the awe. Choose *Disclosure Day* for a capable chase and Emily Blunt, *Close Encounters* if you want to believe. **What should I watch after Disclosure Day?** After *Disclosure Day*, try [*Close Encounters of the Third Kind*](https://film.one/film/close-encounters-of-the-third-kind) (1977, Fi1m 85): Spielberg lets a man stare at a mountain, and the staring is the film. Then [*Three Days of the Condor*](https://film.one/film/three-days-of-the-condor) (1975, Fi1m 80): The seventies chase thriller this one is imitating, without the aliens or the brass; and [*Arrival*](https://film.one/film/arrival) (2016, Fi1m 86): First contact as a problem of language, patient where this one runs. ### Reviews we read (13) - **Radio Times** (3/5): The critic finds that Spielberg's signature sense of awe elevates what is otherwise a somewhat clunky sci-fi thriller. Top marks go to the performances, particularly Emily Blunt's leading turn. [Read](https://www.radiotimes.com/movies/scifi/steven-spielberg-disclosure-day-review/) - **Variety**, Owen Gleiberman (60/100, inferred): Spielberg delivers an invigorating chase thriller that taps into alien conspiracy mania with vigorous scenes and strong performances, especially from Emily Blunt. It falls short by following decades of existing lore rather than creating fresh wonder, feeling like a cut-and-dried docudrama thriller instead of a true spectacle of awe. [Read](https://variety.com/2026/film/reviews/disclosure-day-review-steven-spielberg-emily-blunt-1236766709/) - **Los Angeles Times**, Amy Nicholson (30/100, inferred): Spielberg returns to alien encounters but the wonderment is missing in this hectic adventure of truth versus consequences that lacks intelligent life and spark. It stands out for witty staging of conspiratorial elements and ordinary action sequences, but feels wearied and under-curios, with too much relentless motion over silent awe. [Read](https://www.latimes.com/entertainment-arts/movies/story/2026-06-10/disclosure-day-review-emily-blunt-josh-o-connor-colin-firth-colton-domingo-steven-spielberg) - **Empire**, Dan Jolin: The critic praises it as a masterfully executed sci-fi conspiracy thriller with some of Spielberg’s best action in years, fluid visual mastery, and a timely plea for compassion amid thrills. They note minor chafing elements like hokey sci-fi lore and a vague doomy backdrop but emphasize the director’s heart is in the right place. [Read](https://www.empireonline.com/movies/reviews/disclosure-day/) - **The Guardian**: This is a very enjoyable and entirely ridiculous space-alien conspiracy adventure that is cheerfully mischievous and deadly serious in equal measure. Emily Blunt gives a really funny and hyperactive star performance as the weather forecaster who develops weird mental powers. [Read](https://www.theguardian.com/film/2026/jun/09/disclosure-day-review-close-encounters-of-a-deferred-kind-in-spielbergs-conspiracy-spectacular) - **The Hollywood Reporter**, David Rooney: The critic praises Spielberg's return to classic sci-fi form with a focus on human drama and wonder, highlighting standout performances from Emily Blunt and Josh O’Connor amid a conspiracy thriller plot. They single out the film's emotional depth and masterful craftsmanship for praise. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/disclosure-day-review-spielberg-emily-blunt-josh-oconnor-1236615116/) - **The i Paper**, Francesca Steele: The critic calls it a giant, glorious blockbuster with huge heart and a whopper of a cast delivering career-best work, especially Emily Blunt as the standout heroine. They single out the powerful tenderness and Spielbergian hopefulness for human empathy while noting the plot feels like a nonsensical MacGuffin. [Read](https://inews.co.uk/culture/film/disclosure-day-review-emily-blunt-best-ever-performance-4463675) - **The New York Times**, Manohla Dargis (Critic’s Pick): Spielberg’s fast-paced sci-fi adventure sweeps you up from the start and rarely lets you down as a rollicking revisit to extraterrestrials and his signature themes. It stands out for its coherent maximalism, blending comedy, suspense, action, and contemplation around a high-stakes chase with likable characters racing toward shared destiny. [Read](https://www.nytimes.com/2026/06/11/movies/disclosure-day-review-steven-spielberg.html) - **Total Film**, Jordan Farley: The critic hails it as Spielberg’s best blockbuster since Minority Report, highlighting its strong execution as an alien sci-fi film. [Read](https://www.gamesradar.com/entertainment/sci-fi-movies/disclosure-day-review/) - **/Film**, Chris Evangelista (9/10): The critic praises the film as an immensely thrilling and emotional sci-fi chase movie that showcases Spielberg's mastery of action and camera work. They single out the fluid, nostalgic camera movement and the film's earnest, hopeful tone amid heavy philosophical questions. [Read](https://www.slashfilm.com/2189570/disclosure-day-2026-review/) - **Deadline**, Pete Hammond (85/100, inferred): The critic praises Spielberg's masterful crafting of a 1970s-style thriller that demands answers to otherworldly mysteries, highlighting its deeper purpose in fighting misinformation and calling for empathy. They single out the first-rate acting, particularly Emily Blunt's sensational performance, and the film's craft elements like cinematography and score. [Read](https://deadline.com/2026/06/disclosure-day-review-steven-spielberg-close-encounters-1236951336/) - **NME** (4/5): The review hails Spielberg as the master of sci-fi blockbusters for delivering an exciting, probing and full-bodied feature with beautiful emotive moments and stunning action sequences. It notes some sentimentality in the conclusion and a wish for a tighter runtime but ultimately finds the film big, smart and very satisfying. [Read](https://www.nme.com/reviews/film-reviews/disclosure-day-review-spielberg-emily-blunt-josh-connor-3949879) - **Den of Geek**, David Crow (3.5/5): The critic sees Disclosure Day as a coda to Spielberg’s lifetime of alien movies that reclaims his signature style of blockbuster moviemaking with civic-minded egalitarianism. It praises the film’s call for wonder and curiosity toward the stranger over suspicion, along with strong turns from Emily Blunt and Josh O’Connor. [Read](https://www.denofgeek.com/movies/disclosure-day-review-steven-spielberg-aliens/) ## Details - **Director:** Steven Spielberg - **Director:** Steven Spielberg - **Screenplay:** David Koepp - **Story:** Steven Spielberg - **Cinematography:** Janusz Kamiński - **Editor:** Sarah Broshar - **Music:** John Williams - **Production design:** Adam Stockhausen - **Costume design:** Paul Tazewell - **Producer:** Kristie Macosko Krieger, Steven Spielberg - **Cast:** Emily Blunt as Margaret Fairchild; Josh O'Connor as Dr. Daniel Kellner; Colin Firth as Noah Scanlon; Eve Hewson as Jane Blakenship; Colman Domingo as Hugo Wakefield; Wyatt Russell as Jackson; Henry Lloyd-Hughes as Casper Boyd; Elizabeth Marvel as Sister Maura - **Runtime:** 2h 26m - **Certificate (MPA):** PG-13 - **Release (the US):** 12 June 2026 - **Genres:** Science Fiction, Thriller - **Budget:** $115 million - **Box office:** $241 million - **Trailer:** https://www.youtube.com/watch?v=icDuEHSxE-w ## Where to watch in the US - Amazon Prime Video: rent $9.99, uhd - Amazon Prime Video: buy $19.99, uhd *Checked 2026-09-10.* Also available in: AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, ES, FI, FR, GB, HR, HU, IE, IN, IT, LT, MX, NL, NO, NZ, PL, PT, RO, RS, SE, UA, US. Add `?region=XX` to this URL for another country. ## If you liked this - *Close Encounters of the Third Kind* (1977), Fi1m 85: Spielberg lets a man stare at a mountain, and the staring is the film. — [Fi1m page](https://film.one/film/close-encounters-of-the-third-kind.md) - *Three Days of the Condor* (1975), Fi1m 80: The seventies chase thriller this one is imitating, without the aliens or the brass. — [Fi1m page](https://film.one/film/three-days-of-the-condor.md) - *Arrival* (2016), Fi1m 86: First contact as a problem of language, patient where this one runs. — [Fi1m page](https://film.one/film/arrival.md) - *Nope* (2022), Fi1m 77: Something in the sky above a ranch, and nobody sensible looks up at it. — [Fi1m page](https://film.one/film/nope.md) - *Attack the Block* (2011), Fi1m 84: Aliens on a south London estate, funnier and shorter and no worse for either. — [Fi1m page](https://film.one/film/attack-the-block.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/disclosure-day