REVIEW: Disclosure Day (2026 Film) - Starring Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, and Colman Domingo

Review by Jon Donnis

Steven Spielberg's Disclosure Day arrives with a premise that sounds tailor-made for modern science fiction fans. The question at the heart of the film is a simple but fascinating one. What would happen if humanity finally learned, beyond any doubt, that we are not alone? Unfortunately, despite its ambitious ideas and impressive production values, the finished result never comes close to fulfilling its potential.

The story follows cybersecurity specialist Daniel Kellner, played by Josh O'Connor, who steals classified files and alien technology from Wardex, a secret branch of the US government. The information details decades of extraterrestrial contact and government cover-ups stretching back to Roswell. Hunted by Wardex and its ruthless chief Noah Scanlon, portrayed by Colin Firth, Daniel goes on the run with his girlfriend Jane Blankenship. At the same time, Kansas City meteorologist Margaret Fairchild, played by Emily Blunt, develops strange psychic abilities following an encounter with a mysterious bird. As her powers grow, she becomes linked to the wider conspiracy and eventually joins Daniel in a race to expose the truth to the world.

There is no question that Emily Blunt delivers the film's standout performance. Even when the material around her struggles, she remains compelling and believable. Margaret is easily the most interesting character in the film, and Blunt gives the role enough emotional weight to keep the audience engaged during the slower stretches. It is a strong performance in a film that desperately needs one.

The visual effects are generally impressive. The alien technology, psychic phenomena and larger science fiction elements are all brought to life convincingly. Spielberg and his team know how to create spectacle, and there are moments where Disclosure Day genuinely looks fantastic. The production values are exactly what audiences would expect from a major studio science fiction thriller. HOWEVER there are a few moments of CGI that are just inexcusable in 2026, the "animals" are horrifically bad, the CGI is laughable.

But having a generally good looking production is not enough to save the film.

For all its talk of alien contact, secret programmes and world-changing revelations, Disclosure Day feels surprisingly dated. Rather than feeling like a bold science fiction thriller made for 2026, it often resembles a badly written episode of The X-Files from the years after David Duchovny left the series. The plot constantly piles one revelation on top of another, yet very few of them have the impact they should.

The biggest disappointment is how badly the film wastes its central premise. A story about proving extraterrestrial life exists should be gripping. It should provoke thought, create tension and leave audiences discussing its ideas long after the credits roll. Instead, Disclosure Day never manages to turn its fascinating concept into a satisfying narrative. The film keeps promising something extraordinary but never truly delivers.

The timing of the release also works against it. With UFO discussions and government disclosures becoming increasingly mainstream, particularly following the release of new UFO files by the Trump administration, much of the film's material feels oddly behind the times. What might have felt fresh and provocative years ago now feels strangely old-fashioned. The entire project has the feel of something that should have been released in the early 2000s rather than in 2026.

The idea that people would just be transfixed to their phone as the reveals are made to the world is a nonsense. Certain communities would be rioting and looting, others would be laughing and calling it AI. Remember, trust in the media is at an all time low, and you think the population would just believe the media in 2026? The whole thing just felt unrealistic.

The running time only makes matters worse. At more than two hours and twenty minutes, the film is far too long. Entire sections drag badly, with scenes stretching on long after they have made their point. The pacing becomes a real problem, especially during the middle act, and there are numerous moments where the audience is simply waiting for the story to move forward.

The supporting cast performs well enough with the material they are given. Colin Firth brings authority to Noah Scanlon, while Colman Domingo adds some gravitas as whistleblower Hugo Wakefield. Eve Hewson is solid as Jane Blankenship. None of them are able to overcome the weaknesses in the screenplay, however, and many characters feel underdeveloped despite the lengthy running time.

Oh and the ending, I expected so much more, but was left asking "was that it". The big ending was just a bit meh.

Perhaps the most surprising aspect of Disclosure Day is how little excitement it generates. Spielberg built his reputation on making audiences believe in the impossible and capturing a sense of wonder. Here, that magic is largely absent. The film takes itself very seriously, but the story never earns the level of importance it assigns to itself.

Steven Spielberg just seems incapable of making movies for a younger audience any more. Disclosure Day will probably find an audience among the over 60, atheist white liberal crowd, and it will almost certainly attract viewers because of Spielberg's name and the cast involved. Whether those viewers leave satisfied is another matter entirely.

Disclosure Day may perform well commercially because of the people attached to it, but judged on its own merits, this is a poor film by Spielberg's standards. Emily Blunt is excellent and the visual effects are impressive, but they cannot overcome a story that feels outdated, overlong and frequently boring.

I expected so much more.

Score: 5 out of 10

Out in cinemas now!

REVIEW: The Xenophobes (2026 Film) - Starring Svetlana Tulasi

Review by Jon Donnis

Independent science fiction often lives or dies on the strength of its ideas. When the budget is tiny and the resources are limited, there is nowhere to hide. The Xenophobes, directed by Hal Dace and Penny Cullers, certainly falls into that category. This is an ultra low budget production that wears its limitations on its sleeve, but beneath the rough edges lies a thoughtful story about first contact, time dilation, fear of the unknown and what it truly means to become an outsider.

The story follows Captain Shriya Ballah, played by Svetlana Tulasi, who leads an international crew on humanity's first diplomatic mission to Gliese 849d, the first confirmed home of intelligent alien life. Knowing that the journey will test not only the crew but also her own family, she brings her husband and two daughters aboard the Jerusalem. What follows is a mission that changes everything, both for those making the journey and for the Earth they eventually return to.

One of the film's greatest strengths is its unusual structure. The Xenophobes is very much a film of two distinct halves. The first focuses on the long journey through space, the hostile reception awaiting the crew and the difficult attempts to establish communication with the alien civilisation. The second half shifts to Earth after the crew return to discover that while only twelve years have passed for them, sixty years have passed back home.

This approach works remarkably well. The contrast between the two halves highlights just how quickly societies can change and how easily someone can become a stranger in their own world. The film's title takes on a clever new meaning as the story unfolds. The crew leave Earth to meet aliens, only to return and discover that they have become the outsiders. They are now the ones viewed with suspicion and expected to conform to a society they barely recognise.

Svetlana Tulasi delivers the strongest performance in the film. My wife recognised her immediately and already follows her on social media due to her work as a dancer. She brings genuine presence to the role of Captain Ballah and gives the film a central figure worth investing in. Her performance helps carry the story through some of its weaker moments and demonstrates clear screen charisma throughout.

The production's tiny budget is impossible to ignore, but it also creates some unexpectedly entertaining moments. The spacecraft interiors are full of furniture that looks suspiciously familiar. Many of the crew appear to be sitting on ordinary office or gaming chairs, while one amusing moment makes it clear that the captain herself is sitting on what appears to be a simple wooden dining chair. Combined with some sets that look hand painted, these moments produced more than a few laughs. Whether intentional or not, there is a certain charm to seeing filmmakers stretch every penny as far as possible.

The second half of the film benefits enormously from returning to Earth. Freed from the need to constantly rely on green screens and computer generated environments, the production is able to make use of real locations. The result is a noticeable improvement in the overall look of the film. Scenes feel more natural, more convincing and generally far stronger visually than much of what comes before.

Unfortunately, the weaknesses are just as obvious as the strengths.

Even allowing for the limitations of an ultra low budget production, many of the effects look extremely dated. Space sequences in particular can be difficult to take seriously, with visuals that often appear more distracting than immersive. It is hard not to reflect on how quickly technology has changed. Had this film been made a few years later, modern AI tools might have allowed some of these scenes to be realised far more effectively. Instead, the visual effects often feel like relics from a much earlier era of digital filmmaking.

The extensive use of green screen backgrounds during the first half also hurts the production. Combined with the weak CGI, it frequently reminds viewers of the film's limited resources rather than drawing them into the story.

The running time is another issue. At two hours, The Xenophobes asks a lot of its audience. There is enough interesting material here to justify a substantial film, but a tighter edit would almost certainly have improved the pacing. Several scenes feel longer than necessary, and trimming some of the excess could have resulted in a stronger final product.

The Xenophobes is a film that requires the right mindset. Anyone expecting polished effects, convincing spacecraft interiors or blockbuster production values will likely struggle. Those elements simply are not the point. The real focus is the story, the themes and the questions the film raises about fear, conformity and identity.

Viewed through that lens, there is plenty to appreciate. The concept is interesting, the message is thoughtful and the central performances help sell the material. Most importantly, the film understands what it wants to say and remains committed to those ideas throughout.

Svetlana Tulasi emerges as the standout. She has genuine star quality and it is easy to imagine her thriving if given larger opportunities in the future.

I enjoyed The Xenophobes. The ultra low budget presentation will undoubtedly put some viewers off, but I grew up watching science fiction films and TV shows just like this throughout the 1990s. I have no interest in dismissing a film simply because it lacks expensive special effects. If nothing else, there is a certain pleasure in spotting the little details hidden in the backgrounds and appreciating the ingenuity required to bring such an ambitious project to life.

Independent filmmakers willing to tackle big science fiction concepts on a literal shoestring budget deserve support. The Xenophobes may not be polished, and it may not always succeed, but its ambition, heart and ideas make it far more memorable than many larger productions that cost vastly more to make.

Out Now on Prime Video - https://amzn.to/3RGFIzj

REVIEW: Fight or Flight (2025 film) Starring Josh Hartnett, Charithra Chandran, Marko Zaror, and Katee Sackhoff.

Review by Jon Donnis

Fight or Flight, directed by James Madigan, is a wild action-comedy that locks its audience in for a chaotic and often savage ride. Set almost entirely on a flight from Bangkok to San Francisco, the film follows exiled American agent Lucas Reyes (Josh Hartnett) who is given a final chance at redemption. His mission is to track and identify a mysterious asset known only as The Ghost. Matters soon spiral out of control when it becomes clear the plane is packed with assassins hired to kill them both.

Josh Hartnett anchors the film with a dry, self-aware performance that fits the tone perfectly. Surrounded by a capable supporting cast including Charithra Chandran, Julian Kostov, Katee Sackhoff, and Marko Zaror, the film moves at a relentless pace filled with cartoonish violence and absurd action set-pieces. Madigan's direction leans into the madness, delivering a high-concept B-movie experience that never takes itself too seriously and largely benefits from that approach.

Despite its energy, the film is not without its flaws. At just 100 minutes, Fight or Flight still manages to feel stretched, with some fight sequences dragging on longer than necessary. The script offers little in terms of character development beyond Hartnett's Lucas Reyes, leaving talented performers like Katee Sackhoff underserved. While the carnage is entertaining, the weak plot struggles to support the action, making the experience feel somewhat hollow once the credits roll.

Fight or Flight is a fun but forgettable romp, offering enough carnage, comedy, and magnetic screen presence from Josh Hartnett to satisfy fans of the genre. It treads familiar territory without bringing much new to the table, yet its commitment to pure chaos makes for an entertaining watch.

Score: 7 out of 10.

Out Now on Digital

Apple TV - https://apple.co/3GrsnoO