Earlier this year, former President Obama made waves in an interview when he said that he believed aliens were real, though he hadn't seen any evidence of them during his time in office. President Trump accused Obama of revealing "classified information," but then said that he would direct government agencies to release a number of images showing alien and extraterrestrial activity. The Pentagon rolled out those photos last month, but they were largely deemed fuzzy and inconclusive.
All this might sound like free publicity for Steven Spielberg's new thriller, Disclosure Day, which is about a massive U.S. conspiracy to hide the fact that aliens have been visiting Earth for decades. If anything, though, the movie's pleasures feel more retro than timely. It harks back to Spielberg's greatest alien-themed hits, like Close Encounters of the Third Kind, E.T. and War of the Worlds. But it also feels like a throwback to the '90s and early 2000s — the era of conspiracy-minded sci-fi series like The X-Files and M. Night Shyamalan's eerie crop-circle thriller, Signs.
Disclosure Day stars Josh O'Connor as Daniel Kellner, a cybersecurity expert who decides to blow the whistle on his employer, Wardex. That's a powerful agency, operating outside the boundaries of the government, that, for decades, has suppressed evidence of alien visits to Earth. Daniel has stolen video footage of these creatures, and he feels duty-bound to disclose it to the public — and to expose the sinister Wardex for having captured, detained and even tortured its share of aliens.
Meanwhile, in Kansas City, Mo., something strange happens when a TV meteorologist named Margaret Fairchild, played by Emily Blunt, tries to deliver her morning weather report. She freezes up on the air and begins making strange, guttural clicking noises, speaking what appears to be a kind of alien language. Around this time, Margaret also finds that she can read the minds of the people around her — a gift that comes in handy once she, too, goes on the run, with Wardex agents in pursuit.
Although Margaret and Daniel don't know each other, they share a mysterious connection. Noah Scanlon, the head of Wardex, played by an unusually terrifying Colin Firth, is determined to stop them before they can make contact.
One of Scanlon's deadliest weapons is a form of mind-control technology that he uses to try to get Daniel's girlfriend, Jane, played by a very good Eve Hewson, to betray him. Whatever aliens might be capable of doing to us, the movie suggests, we have far more to fear from some of our fellow humans.
The mind-control bit is one of the movie's cleverest sequences; a scene in which Margaret stages an almost Houdini-level escape is another. At 79, Spielberg is still the nimble filmmaker who delights in treating cinema as a magic trick. He's also as skilled with actors as ever. Firth injects a palpable sense of anguish into the role of the movie's big villain, and O'Connor brings an Everyman likability to his truth-telling tech whiz. But the most dazzlingly inventive work comes from Blunt.
Often a tough, sardonic screen presence, as in The Devil Wears Prada 2, Blunt gets to flex her proven action and comedy muscles in a more earnest emotional register. Like Richard Dreyfuss' obsessed alien seeker in Close Encounters, Margaret is the kind of madly eccentric character Spielberg instinctively gravitates toward — someone who has little idea where she's headed, but is convinced, rightly, that the truth really is out there.
There are other memorable characters, too. Colman Domingo gives a warm turn as a fellow whistleblower, who steers the operation from afar. And Elizabeth Marvel delivers a fine performance as a Catholic nun who, in one of the film's more thoughtful asides, claims that the existence of aliens doesn't threaten her belief in God. If anything, she says, it affirms that God, like the universe he created, is far bigger and more complex than humans like to acknowledge.
That's a profoundly beautiful idea, though I wish Disclosure Day itself were a more complex movie. Spielberg's storytelling is often described as overly sentimental, which isn't always fair; his previous work, the semi-autobiographical The Fabelmans, was one of the most genuinely moving films of his career.
But sentimentality does ultimately overwhelm Disclosure Day, especially in the big finale, when the movie strains to bring its characters and indeed all of humanity together. Having shown us some of the terrible things powerful people are capable of, Spielberg makes a third-act lurch toward catharsis, as though desperate to suggest we aren't beyond redemption as a species. Like the existence of alien life, our essential goodness is easy enough to believe in, but a lot harder to prove.
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