Disclosure Day (2026) | REVIEW

Emily Blunt and Josh O’Connor look into each other’s eyes in Steven Spielberg’s DISCLOSURE DAY — PHOTO: Universal Pictures (Still image from trailers).

Directed by Steven Spielberg (Raiders of the Lost Ark; Schindler’s List) — Screenplay by David Koepp (Black Bag).

No one does major motion picture pop blockbusters quite like Steven Spielberg. The septuagenarian (soon-to-be octogenarian) star filmmaker is one of cinema history’s greatest science-fiction storytellers, having made science-fiction greats such as Close Encounters of the Third Kind, E.T.: The Extra-Terrestrial, Jurassic Park, Minority Report, A.I.: Artificial Intelligence, and War of the Worlds. So, when it was announced that he would be returning to a cinematic genre, our understanding of which he has helped to sculpt, the ears of cinephiles around the world pricked up, their appetites were whetted, and their excitement built up. That new feature is Disclosure Day, a film that aims to grapple with the question of how we would all react to finding out that we are not alone in the universe. For the legendary director, it is thus a return to concepts that are definitely not alien to his oeuvre. While the new film is not without blemishes, it is nonetheless a strong genre effort that speaks to our current moment with a humanist spirit and plea. It also shows, for all to see, that Steven Spielberg still has what it takes to tap into the incredible sense of wonder with which he has become synonymous.

Continue reading “Disclosure Day (2026) | REVIEW”

Wicked (2024) | REVIEW

Ariana Grande-Butera and Cynthia Erivo in WICKED — PHOTO: UNIVERSAL PICTURES (Still image from trailers).

Directed by Jon M. Chu — Screenplay by Winnie Holzman and Dana Fox.

Sometimes I like to think of myself as an ‘unrealized musical theater kid,’ since I do, and always have, enjoyed performances, musicals, and whatnot but didn’t really have school programs or friends to help steer me in a fulfilling direction when I was younger. As such, it sometimes feels like I’m behind on a couple of musical theater touchstones that I undoubtedly would’ve loved when I was younger. Although I knew of “Defying Gravity,” through, I think, Glee, Wicked has been a little bit of a blind-spot for me, despite my love and appreciation for The Wizard of Oz. In early 2024, I did express some doubt about this entire big-screen adaptation project of the musical theater phenomenon, as the adaptations of Cats and Dear Evan Hansen appeared to have only lessened the reputations of those shows. So, I openly asked, on the social media platform formerly known as Twitter, if this was something people actually wanted to see? Wicked die-hard fans were quick to respond with a clear and obvious ‘yes.’ Now that I’ve seen the big-screen adaptation, I can happily say that I totally get the excitement. Although I, admittedly, don’t think it’s perfect or the best movie musical of the last ten years, I found Wicked to be utterly delightful. I understand why it is, ahem, popular.

Continue reading “Wicked (2024) | REVIEW”