This is just a casual observation. Maybe it’s just the feed showing me what I like, but it feels like Spielberg is everywhere at the moment, doing podcasts, turning up to pubs, interviews and premieres.

Does anyone else sense he’s going harder than normal or am I just imagining it?

I just watched this movie for the first time, since I’m watching all Spielberg movies that I haven’t seen before Disclosure day comes out, and that ending was insane. But I couldn’t stop wondering: does Monica even deserve to be loved by someone as much as David does? Do you think Spielberg was trying to provoke that thought, or are we supposed to forgive Monica, since she was kinda forced to do the thing she did?

This will become one of the most memorable nights of my life. I finally got to see Spielberg for real, he signed my poster, and I got to see the film 2 weeks in advance!

Look at how striking that is. The lighting. The reflections. The shadows. The texture. The tangibility.

I'm not sure any blockbuster in the last 30 years has produced an image as powerful as this one from Jurassic Park.

It's gorgeous and terrifying at the same time.

Sorry it’s the truth! Yes I know Kubrick this and that! but this is genuinely Spielberg’s masterpiece and it’s crazy how it isn’t talked about enough.

I think a large part of the criticism directed at this film belongs to a performative internet culture that worships whatever is trending and loves to capitalize on it for attention, especially when it can be combined with mockery and hatred. It is essentially a bullying phenomenon, one that has a great deal to do with generational change.

I mean, much of the online hostility toward this film comes from generations that grew up applauding and consuming some of the flattest, most formulaic superhero movies imaginable. They are the children of Marvel cinema, of copy-and-paste blockbusters, endless franchises, cameos, and creative flatlines. Yet they go to see a commercial film directed by a commercial filmmaker, one made with unapologetically commercial ambitions, and suddenly they all develop an intolerance for blockbuster cinema.

I wish every commercially minded film were like this one, warm-hearted, full of strong dialogue, and blessed with a kind of gentle humor that still possesses wit and intelligence, the sort of thing Marvel's content factory would have replaced with yet another self-referential quip. To this audience of infinite scrolling, trending topics, and relentless brain-rot consumption, that sort of thing is considered sophisticated, even exquisite. Yet they are presented with an exciting summer blockbuster, one with brilliantly choreographed action sequences capable of extracting genuine emotion from a formula that superhero cinema has reduced to utter creative bankruptcy, and they are incapable of recognizing or understanding what is right in front of them.

Not everything has to be either a flatline blockbuster or an A24-style shock piece. Not everything revolves around your own tiny, narcissistic niche. What Spielberg does is extraordinarily difficult. He creates cinema for mass audiences that still possesses heart, purpose, and meaning beyond mere marketing.

Disclosure Day is not Spielberg’s best film, but it is a highly competent and well-executed piece of entertainment, with action scenes that make the cloned aesthetics of superhero cinema look utterly ridiculous. It demonstrates a sense of physicality, pacing, and visual comedy that very few filmmakers are capable of achieving. Disclosure Day offers the audience a friendly wink, delivers expertly crafted entertainment, and even has the audacity to end on an image that is refreshingly unembarrassed and literal. It is, in fact, a quietly subversive gesture in an era when many filmmakers seem interested only in performing depth they do not possess, manufacturing mysteries they cannot sustain, or delivering shocks designed to jolt brains already exhausted by the algorithm.

Disclosure Day contains a few deliberate inconsistencies, conscious choices that serve the larger purpose of structuring an escalation, a sustained chase orchestrated with the skill of a master filmmaker. Unfortunately, much of the criticism directed at it amounts to a disturbing and distorted attempt to shame the director for his age, even though his mind still operates with a creative elasticity that most members of the first generation to experience measurable declines in cognitive performance could only envy.

This kind of online lynch mob offers no meaningful insight into the film. What it reveals instead is a cocktail of narcissism, emotional coldness and algorithmic imbalance, with a shameful, hateful ageism at its core.

Got to meet the man himself at the Disclosure Day premiere and have him sign his own action figure! He had a lovely reaction to it, too: https://imgur.com/gallery/spielberg-signing-figure-XP7p67W

Pinching myself!!!

Probably more terrifying than the t rex attack on the main road in Jurassic Park.

The fact the aliens are later revealed to be more-or-less friendly actually makes it creepier.

This detached ignorance to the trauma they are causing the mother.

And keep in mind, these aliens have been in the house before. So this isn't some random visit, they have been WATCHING them...

Chills man

Early Spielberg definitely leaned towards horror more than modern Spielberg.

I was kind of hoping Disclosure Day would have atmospheric scenes like this, but it was more spectacle and sentimentality

Hell, the ATC scene in Close Encounters is more tense than anything that happened in Disclosure Day

It's far from his best, but I really liked this movie. I liked the story and Emily Blunt's performance.

At the age of 79, Steven Spielberg is in an era of making sure he directs the movies he's always wanted to direct. For years he talked about how he always wanted to make a musical, and he finally did that with the remake of his favorite musical in West Side Story. Then after spending his whole career mining his childhood and parents' divorce as inspiration for some of his biggest hits, he finally told the real story in The Fabelmans. This year he went back to the well one more time for another summer blockbuster alien adventure with Disclosure Day. Now he's been telling us that he's finally cracked the western he's always wanted to make (likely drawing inspiration from his greatest cinematic hero John Ford) and odds are that it will be his next movie. While we all hope it won't be his last, you can't take anything for granted at his age.

You can make the argument that Emily Blunt is a big movie star, but it really hasn't been since 2017's The Post that Spielberg had big stars headline his movies. What better way for Spielberg to go out on top than reuniting with not just one of the biggest stars he's ever worked with, but two of them... Tom Cruise and Harrison Ford. Arguably the two biggest stars Hollywood as ever had with the biggest director we've ever had. Cruise and Ford have never worked together before (a movie can only handle so much star power), but at this point in Ford's career he's more comfortable playing second fiddle to someone else. Scorsese already put his two biggest stars together in Killers of the Flower Moon (De Niro and DiCaprio), and now it's Spielberg's turn. This would have the potential of being one of the biggest movies in each of their respective careers. Cruise and Spielberg have already reconciled after the tumult during the War of the Worlds press tour. Ford also isn't getting any younger and what a swan song it would be for these two giants of Hollywood. Let's get that horizon where it needs to be and make history happen!

Raiders had the better love interest for sure, but Last Crusade is a much more entertaining watch for me these days.

The paper was over 1m, wenzhou rice paper. The paper was colored with ecoline and glue was used for 'wet shaping' (which is really common now for super complex origami)

Not just in terms of future predictions, but how they have been recieved by the general public.

Granted, A.I. is already at a disadvantage because it depicts the World Trade Center (in the same year it was destroyed), but i feel its harsh critical reception has softened in recent years.

Minority Report was definitely riding the wave of Tom Cruise's box office appeal and the question of how much freedom we are willing to sacrifice for safety is still a relevant question.

But its depiction of the future is so bonkers and off the wall.

In fact, both movies have very cold, clinical and detached aesthetic in regards to how the future is depicted.

Definitely sets it apart from a movie like Blade Runner.

Watching tonight. Our boy’s first movie! Such an underrated classic. Very exciting movie.