Disclosure Day

Director: Steven Spielberg
Starring: Emily Blunt, Josh O' Connor, Colin Firth, Eve Hewson, Colman Domingo, Wyatt Russell, Henry Lloyd-Hughes, Elizabeth Marvel, Hettienne Park, Tommy Matinez, Gabby Beans, Jeremy Shamos, Brandon Wilson Courtney Grace 
Running Time: 145 min.
Rating: PG-13

 

★★★ ½ (out of ★★★★)  

A sense of excitement surrounded the news that Steven Spielberg's sci-fi thriller Disclosure Day would find the legendary director returning to the genre where he experienced some of his greatest success. And while the filmmaker who helmed so many cultural touchstones has grown older and more experienced, he's continued to show flashes of greatness in adapting to the times. Still, no one can be blamed for entering this with lowered expectations, as its title and trailers suggested something closer to a reboot of M. Night Shayamalan's Signs, complete with matching crop circles. 

Understandably choosier about the projects he takes on, we should know by now not to underestimate Spielberg, who wouldn't put his weight behind a premise done to death by Hollywood unless it's something's special. And David Koepp's script is, resulting in an intelligent, visually gripping spectacle far superior to what its advertising implied. Frenetically paced and spectacularly shot, this doesn't let up for a minute, trusting viewers to keep up as it builds to an emotional, thought provoking climax.   

With countries hovering on the brink of World War III, U.S. cybersecurity specialist Daniel Kellner (Josh O' Connor) has stolen classified information from his employer, the government contracted Wardex Corporation. Now in possession of a mysterious extraterrestrial artifact and a hard drive containing proof of alien life dating back to Roswell, he's a hunted man. Evading the company's CEO Noah Scanlon (Colin Firth), he flees with girlfriend Jane Blankenship (Eve Hewson) while maintaining communication with disillusioned Wardex co-worker Hugo Wakefield (Colman Domingo). Having assembled his secret team at an undisclosed location, Hugo's already set in motion a plan to reveal the truth to the world.

Meanwhile in Kansas City, local meteorologist Margaret Fairchild (Emily Blunt) alarms musician boyfriend Jackson (Wyatt Russell) with her increasingly odd, erratic behavior. Speaking in foreign languages she shouldn't know and suddenly displaying psychic abilities, things only get stranger when she delivers an incomprehensible weather report on KCXE's newscast that quickly goes viral. Now under siege from Wardex agents who recognize her extraterrestrial language, she hits the road to find Daniel, with whom she shares an inexplicable bond. Together they'll try to unlock their repressed memories and expose this cover up to the world, unless Scanlon gets to them first.                

The story's well underway by its opening scene, posing more questions than answers when Daniel's seemingly held hostage by Wardex agents. He's clearly in possession of something Scanlon wants and the fact these characters are already way ahead of us makes for an exciting dynamic that quickly piques our interest. And though Daniel and Jane each know considerably less about each other than they originally assumed, he still holds most of the secrets, remaining committed to seeing this through with Hugo's help.

Spielberg's biggest surprise is that the whole film feels like two extended, action packed road trips with protagonists barely given enough time to process the enormity of what's happening. Like Daniel, Blunt's Margaret is a target, but must also grapple with psychic powers she doesn't appear to fully comprehend, at least not yet. While Hugo knows it's imperative she and Daniel unite in publicly disclosing the contents of the Archive, the consequences and specifics come later. Just not before some awe inspiring chase scenes set at a barn house and on a speeding train. 

That Firth's Scanlon isn't your typical one dimensional villain can be credited to both Koepp's screenplay and the actor's turn as a man broken enough to convince himself he's right. Even if Scanlon brings up valid points about the public's potential response to this info, the root of his concern stems from a monetary desire to maintain power and control following a deeply personal loss. As a former nun, Jane's worries are largely rooted in moral and religious fears, making for an intriguing clash when Scanlon uses the extraterrestrial artifact to telepathically infiltrate her consciousness. But this device isn't just a clever narrative tool, as it causes nearly as much physical and emotional distress to its user as their intended target.

O' Connor is engagingly effective as this whistleblower sure in his beliefs, if a little fuzzy on how he'll pull it all off. Blunt's given a lot more to juggle as Margaret, a TV personality whose newfound abilities turn her world upside down, affecting everyone she encounters. The whole performance plays like an outer body experience as the actress simultaneously conveys the fear and confusion accompanying such a bizarre phenomenon. But her work really kicks into high gear once Margaret gets a handle on her powers and embraces what they'll eventually come to mean in a larger sense. 

Domingo's part is pivotal, with Hugo's knowledge carrying a certain air of mystery as we speculate why he's guiding Daniel from what looks like the confines of a giant stage set. Ultimately though, his goal is to facilitate Daniel and Margaret's connection, which receded into their subconsciousness long ago. This retrieval process leads to the film's most divisive section, featuring childhood flashbacks shot by cinematographer Janusz Kamiński in a style that visually resembles a Thomas Kincaid painting.

A lack of full disclosure in a film titled Disclosure Day would be the ultimate bait and switch, and while we do know where that'll occur, it's all about the "how," especially when the struggle to expose the truth becomes a race against time. The final act is surprisingly powerful, not only due to the unearthed footage that raises the film's believability quotient or even John Williams' quietly stirring score, but one unforgettable performance. It comes from relatively unknown actress and former real life TV reporter Courtney Grace, who's tasked with the herculean feat of delivering this live breaking news. With astonishingly authentic facial reactions and delivery, her unnamed NBC anchorwoman becomes the world's eyes and ears, lifting the conclusion to a place we didn't think it could possibly reach.

Easily one of Spielberg's better recent efforts, this is a worthy entry in his rich sci-fi catalogue, earning thematic comparisons to Minority Report, and more directly, Close Encounters of the Third Kind. After an opening that might have audiences scratching their heads, the ideas gradually grow as we're taken on a wild ride with two intrinsically linked characters who spend the majority of the picture on separate but interwoven quests.  

Spielberg proves less interested in the existence of extraterrestrial life than what our collective reaction says about us as a species. The idea we're not alone definitely isn't new, but this posits a gripping dramatization of what happens when conspiracy meets reality. Rather than focusing on the aliens and their intentions, he takes a riskier, less traveled route by questioning whether we'd ever have enough empathy, faith and understanding to accept them.   

Jay Kelly

Director: Noah Baumbach
Starring: George Clooney, Adam Sandler, Laura Dern, Billy Crudup, Riley Keough, Grace Edwards, Stacy Keach, Jim Broadbent, Patrick Wilson, Eve Hewson, Greta Gerwig, Charlie Rowe, Louis Partridge, Alba Rohrwacher, Josh Hamilton, Emily Mortimer, Thaddea Graham, Sadie Sandler, Isla Fisher
Running Time: 132 min.
Rating: R

★★★ (out of ★★★★)    

In Jay Kelly, George Clooney plays a charismatic, enormously successful 60-year-old movie star aging into the latter phase of his career. And while the film could write itself in terms of how closely it reflects the star's own life and public image, that irony isn't lost on Noah Baumbach, who doesn't always go for the easy laughs. Surprisingly subdued and introspective, it's more traditional than we've come to expect from a director known for his acidic, off kilter takes on relationships. This feels more like a high minded Hollywood dramedy from an earlier era, which is fitting for a protagonist who's spent his whole life in front of the camera. 

If accolades and worldwide fame suggest the title character has it made, a realization suddenly hits him that this isn't the case, at least on a personal level. Surrounded by dedicated handlers, fellow celebrities and fawning fans, he lives in a manufactured reality, even as strained relationships with his two daughters become a harsh reminder of just how lonely he is. Taken on its own terms, the story's lightweight in spots and nothing extraordinary, but a talented cast and sharp writing manage to get it over the finish line. As does the inspired pairing of Clooney and Adam Sandler, with the latter again proving his range when handed material that plays to his overlooked strengths. 

When beleaguered film actor Jay Kelly (Clooney) finds out his college-aged daughter Daisy (Grace Edwards) has chosen to travel through Europe with friends rather than spend time with him, he tells longtime manager Ron Sukenick (Sandler) he's agreed to accept the career tribute award in Tuscany he previously turned down. Hoping to blow off a big movie shoot and surprise Daisy overseas, a series of crises occur before he leaves, including the sudden death of former director and mentor Peter Schneider (Jim Broadbent) and an unexpected encounter with old acting school buddy Tim Galligan (Billy Crudup).  

All this dredges up emotional baggage for Jay as he tries to connect with his school teacher daughter Jessica (Riley Keogh), who still resents his absence during childhood. Meanwhile, a stressed Ron unravels at the realization he's Jay's lackey, serving at the actor's beckoned call without so much as a hint of gratitude or acknowledgment. It's a harsh truth cynical publicist Liz (Laura Dern) knows well, as she attempts to convince Ron this is the job he signed up for. But with Jay growing increasingly selfish, the trip forces him to confront the fact he has no idea who he is outside this sheltered cocoon of massive fame.

Movies about the movie business and those inhabiting it tend to invoke more groans and eye rolls than just about any other sub-genre. Viewed as egotistical navel gazing by most mainstream audiences, it's hard not to cringe when hearing how miserable wealthy, privileged Hollywood types are with their lives. And while there's an element of that here, those vehemently opposed to the topic would probably stay clear anyway so it doesn't make much of a difference. Luckily, Baumbach avoids this pitfall thanks to the work of Clooney and Sandler, who share the screen for the first time in their careers to better than expected results. 

At many points, Jay comes across as a big baby in need of constant coddling by an entourage who love the guy, but find him insufferably egocentric. The script really earns its stripes when exploring why, like during Jay's uncomfortable encounter with his an ex-friend who fell short of his full potential. Compellingly played by Crudup, there's more to this story than it appears, as their impromptu reunion deteriorates when a few drinks are consumed and the real truth comes out, little of which reflects well on Jay. 

Cleverly conceived flashbacks provide Jay's present self a front row seat to regrets and bittersweet memories that, for better or worse, brought him to where he's now at, painting a portrait of young ambition at any cost. This device is particularly effective in depicting the rift between him and eldest daughter Jessica, who begrudgingly accepts the fact he isn't changing and her life will move on, with or without him in it. You could argue Keogh registers the film's most grounded supporting performance, aided by a realistic sub-plot that sidesteps the silliness occasionally present elsewhere. 

Some of that nonsense is provided by Laura Dern's publicist character, who has a mind boggling mini-arc with Sandler's Ron that should have been left on the cutting room floor. And while inexplicably sidelining talents like Greta Gerwig, Emily Mortimer and Isla Fisher is certainly a choice, Clooney and Sandler's intentionally unbalanced dynamic helps cover for it. 

Unfailingly loyal and eager to please, Ron operates under a sadly misplaced hope Jay views him as a friend. But his star client's unwillingness to compromise is the final straw for the put-upon manager, who's already in the process of losing his other client (played by Patrick Wilson). Sandler effectively conveys Ron's evolution throughout, arriving at this place of clarity he hopes his boss will eventually catch up to. For his part, Jay does clumsily try to bond with Daisy on the trip and even invites his own ornery father (a rambunctious Stacy Keach) along, whose behavior goes a long way in explaining Jay's issues.      

Clooney creates an intersection where fiction and reality collide for those envisioning how things would play out if the actor himself boarded a train full of adoring fans. In that respect, the film invokes comparisons to Nic Cage's similarly meta, The Unbearable Weight of Massive Talent, only as a character study rather than a high concept action comedy. It's especially evident in the final scene's tribute reel, which seamlessly incorporates Clooney's career into the film's narrative for a heart tugging conclusion.

The ending also sadly shows how much of Jay's life is defined by his screen persona, as a string of inciting events cause his mistakes to come back and haunt him. With this, Baumbach transforms a somewhat conventional premise about a celebrity's mid-life crisis into a modern day spin on A Christmas Carol. When confronted by ghosts of decades past, the movie star faces failures and missed opportunities, with Clooney flipping the charm on and off as only he can.