What On Earth Did Spielberg Have In Mind?
The more I read or see reviews of Disclosure Day, the more I wonder if Steven Spielberg's head is stuck somewhere in the 1970s, or maybe his private fantasy of the 1970s. This review has two insightful points; first:
Disclosure Day is a movie that is hanging on to the value of legacy media, with the overarching journey trying to get the stolen footage on network television. There’s an archaic quaintness to this, and it’s a willful one, as O’Connor’s whistleblower seems heavily inspired by Wikileaks, so Spielberg and Koepp know the internet exists. The reason for the focus on network television may be entirely functional - the movie needs a ticking clock. It has two - Wardex chasing our heroes as they try to release the footage and WWIII brewing in the background as North Korea starts acting up significantly.
In other words, we're back to Woodward, Bernstein, and "Deep Throat", using the white hats at the Washington Post to catch the Nixon administration bad guys, pure 1974. Never mind the Post, with the whole legacy media establishment, has seriously declined, we're expected to suspend disbelief and root for the whistleblower hero. The review's second point is this:
Hewson’s Jane, the innocent bystander caught up in the chase, talks to Josh O’Connor about the possible deleterious impacts of letting everybody know ET is real. Her argument is that it will cause a breakdown in the social order because of religion, but the movie never examines what this means. . . . This is one of the aspects of UFO theorizing that has always baffled me. The Catholic Church has been okay with the idea of aliens for a long time, and Pope John Paul II once replied to the question about whether there is life on other planets with the statement “Always remember: they are children of God as we are.” . . . I really feel like the popularity of science fiction over the past 70 years means that most folks would accept aliens as simply technologically advanced beings also created by God. The problem would be with Evangelicals, who invented the idea of the Bible being infallible, and thus have very strict ideas about what should and should not exist in the universe. But those folks today are saying UFOs are demons, which indicates to me not that the existence of aliens would create a religious crisis for them but rather act as a proof of faith.
Again, media people don't seem actually to know much about Christianity. Cdl McElroy just revoked the license of a Catholic exorcist who said UFOs are demons, and Vice President Vance, a Catholic, believes UFOs are demons, too. It's not just Evangelicals, and of course infallibility and inerrancy are difficult terms.
The concepts of infallibility and inerrancy are related but distinct. Infallibility refers to the Bible’s inability to fail in matters of faith and practice, while inerrancy denotes freedom from all errors, including historical or scientific details. Some denominations allow for minor errors in non-essential historical or scientific details under infallibility, whereas inerrancy traditionally holds that all original manuscript content is fully true.
The reviewer concludes,
There was nothing I wanted more than to love this movie. The religious element intrigued me, and Spielberg doing aliens again seemed so promising. . . . knowing that Spielberg is a True Believer I was hoping for something deeper and more interesting when it came to the space brothers. But there isn’t; Spielberg doesn’t break an inch of new ground here, and there’s not a UFO moment or idea in this movie that hasn’t been explored better in The X-Files thirty years ago. It’s very disappointing.
I'm coming to the conclusion that Spielberg is drinking his own Kool-Aid. Last week, I noted that Spielberg was expecting the film to make Christians question their faith as it made the entirely hypothetical proposal that space aliens are real. Why did he expect this?I think he expected it because he knew he had a real turkey on his hands, but he was counting on the likes of Franklin Graham to denounce the film from the pulpit, which would spark interest. The review embedded above begins, "The runup to the movie's release has featured claims that it's anti-Christian, that it's designed to make people question their beliefs as they leave the theaters." Instead,
“Disclosure Day,” a sci-fi adventure from Steven Spielberg, opened to No. 1 at the domestic box office with $44 million from 3,824 theaters.
Those ticket sales were above estimates of $35 million, though below the $50 million that rival studios argue a film of this scale should earn in its debut to justify its price tag. “Disclosure Day,” one of the summer’s biggest gambles, cost $115 million to produce and $80 million to market. Since theaters keep about half of revenues, “Disclosure Day” needs to earn about $300 million globally to be profitable.
. . . Meanwhile, “Obsession” continues to do unprecedented business with $19 million in its fifth weekend of release, a 25% decline, and enough for second place on box office charts. . . . Now the low-budget “Obsession” has generated $188.3 million in North America and $265 million globally.
“Backrooms,” another horror sensation, captured the No. 4 spot with $12 million from 3,404 venues in its third weekend. The film, from another YouTube phenom Kane Parsons, has grossed $160 million domestically and $262 million worldwide to date.
The YouTube reviewer above sums it up: "Disclosure Day is a very, very bad movie." Spielberg hoped to rescue it by trying to twist Franklin Grahnm's tail. Not even that could help.


