With Steven Spielberg returning to his science-fiction roots in Disclosure Day, it’s inevitable to measure the film against his storied history of extraterrestrial encounters. Overall, it holds its own quite well. Much like the relentless pursuit found in War of the Worlds, the film delivers a gripping, high-octane experience. While few cinematic achievements can replicate the pure, wide-eyed wonder of E.T., certain sequences involving the creature interactions in Disclosure Day stir a similar nostalgia. However, the most telling comparison is Close Encounters of the Third Kind, which highlights both the brilliance of Spielberg’s latest effort and its primary flaw: a lacklustre resolution.
Warning: Major spoilers follow for the conclusion of Disclosure Day.
To be clear, this isn’t a critique of Spielberg merely rehashing old tropes. Disclosure Day follows Daniel Kellner (Josh O’Connor), a cybersecurity specialist who uncovers suppressed evidence of alien visitation, forcing him into a desperate, high-stakes flight from shadowy conspirators. Conversely, Close Encounters centers on Roy Neary (Richard Dreyfuss), a lineman whose life is derailed by an obsessive, spiritual pull toward the unknown. While their narratives differ, both films are structurally tethered to a climactic payoff promised by their very titles. We expect the disclosure; we expect the encounter. Where Close Encounters transcends the anticipation to deliver something transcendent, Disclosure Day settles for a conclusion that is merely functional.
In Close Encounters, Neary’s obsession culminates at the awe-inspiring Devil’s Tower. The final act is a masterclass in patient, visual storytelling—a rhythmic exchange of light and sound that builds to an emotional crescendo as the mothership descends. The arrival of the missing abductees, the silhouette of the alien visitors, and the iconic, silent farewell all coalesce into a profound, transcendent experience. The pacing is deliberate, yet every moment feels essential, rewarding the audience with an ending that is both spectacular and emotionally resonant.
By contrast, Disclosure Day opts for a more conventional, action-oriented wrap-up. The narrative converges on a Kansas City news station, where meteorologist Margaret Fairchild (Emily Blunt) finally broadcasts the proof of extraterrestrial life to a global audience. The inclusion of an ancient, mysterious alien figure providing a final message adds a necessary sense of gravitas, elevating the reveal beyond a simple human announcement. However, while the scene checks the necessary plot boxes, it fails to achieve the sublime, transformative quality of Spielberg’s earlier masterworks. The urgency of the broadcast—set against the backdrop of a brewing World War III—is well-acted, but it lacks the visual and emotional poetry required to make the ending truly unforgettable.
While Disclosure Day captures the distinct, 1980s-inspired Spielberg aesthetic that makes it a triumphant return to form, one wonders if it will stand the test of time as a top-tier classic, or if it will ultimately settle into the “good but not great” tier alongside War of the Worlds. For now, it remains an exciting, well-crafted thriller, even if it falls just short of the legendary heights of Close Encounters.
Source: Polygon
