Disclosure Day

Disclose Encounters

Disclosure Day
Directed by Steven Spielberg
USA/Canada/New Zealand/Japan 2026
Universal
UK Cinema Release Print

Warning: Slight spoilers.

Well then... Disclosure Day is not the suspected sequel to Close Encounters Of The Third Kind it was rumoured to be (although it does have a couple of on screen references and could easily be taking part in the same shared world... in which case it definitely is, despite Spielberg’s protests). What it is happens to be Spielberg’s third ‘aliens on Earth’ movie after his brilliant, original, studio release cut of Close Encounters and his abysmal ET - The Extra Terrestrial movie. Disclosure Day is somewhere in the middle of the quality of those two... not quite as good as the former but walking all over the latter.

We have the various ‘everymen sucked into extraordinary adventures’ which is a particular Spielberg signature, often seen as a legacy archetype in his pictures. These are played by the wonderful Emily Blunt, Josh O’ Connor and Eve Hewson. Then you have the obligatory human villain, played by Colin Firth and the wise, helpful ally to the good guys, played by Colman Domingo. Plus assorted ‘also ran’ characters performed by the likes of Wyatt Russell and Elisabeth Marvel. 

The film is not quite, as I’d suspected, a reveal about the various alien/human hybrids living in society among us (see the Al Adamson documentary Blood And Flesh: The Reel Life And Ghastly Death of Al Adamson, reviewed here, to find out more about those, since Adamson actually met one and then died in particular ghastly circumstances sometime after, before he could finish his expose documentary... whether that aspect of his life was relevant to his death or not) but more a look at the way aliens are trying to escape the knowledge-prison of the independent task force trying to stop the leakage of their existence on Earth.

So, in terms of the plot... it’s not what I was expecting but, the sad thing is, everything else went exactly as I’d expected. It’s not a bad movie by any means and it hits some nice Spielberg moments such as an elabourate and suspenseful ‘car being dragged along on the side of a train’ chase and various metatextual references back to cinema over the years. It’s true to say that in some ways it’s somewhat of a postmodern pastiche of things we’ve seen over the years in many movies.* 

Perhaps my favourite appropriation is when Eve Hewson’s character is being psychically interrogated from afar by Firth’s sinister invasion of her mind and, she uses her crucifix in just the same manner that Michael Caine’s Harry Palmer used the rusty nail in the brainwashing sequence of The IPCRESS File (reviewed here) so, yeah, Spielberg really nailed that one. 

The film neatly bypasses the effect on mass culture of the possible lack of faith in religious practices in a way which is, perhaps, not multiculturally sensitive (although I don’t mind) and uses a direct quote from the Bible to directly allow for the possibility of alien life forms being present in the universe. So for a certain section of the audience he has that pretty well sewed up. 

I did object to the use of animal scenes in the film... not because this is not what aliens do, as documented in numerous cases (whether you believe those cases or not) but because, the logic of using those encounters out of an environment where there are only one or two humans present seems contrary to logic and not a part of, as Spielberg and screenwriter David Koepp neatly put it, how aliens represent. So, atmospherically it works effectively in a spooky manner in the movie but, one or two of those scenes seem somewhat out of place. 

Now the ending is, I suspect, going to divide people. Not because you won’t see it coming... I defy anyone to not figure out exactly when the camera is going to cut to the end credits before it actually happens... but because there’s no real sense of closure to the disclosure. That is to say... how else could you end this movie? It’s absolutely the right way to end this without leaving some section of the audience bitterly disappointed in the content of the message of the aliens. That would then become a different movie and this way at least allows for that all important message to go either way, in terms of the fate of mankind, for sure.

Added to this we have an excellent, post-retirement score by regular Spielberg collaborator John Williams, who at 94 is still able to come up with one of his best scores in years. So that’s a CD I will hopefully be getting a hold of soon. 

All in all though, I’m about done with Disclosure Day. Excellent performances in a not too shoddy package with a nice bit of scoring is certainly enough to take a trip to the cinema for but, ultimately, I was a little underwhelmed by the whole experience. I suspect that’s because I’ve been around too long, though and I’m sure the younger audience... who have not seen much of the history of cinema to be as jaded by this plot as I am... will be thrilled with this one and lionise it, to a certain extent. At least until they get a few films under their belt. Not a film I’d easily recommend because I felt it pulled its punches a little too much but, not a huge disappointment either and I think it will find its audience, for sure. 

 *Although, after only a few days of the film’s release into cinemas, I’m already sick of reviewers making assumptions that the Inn-Di-Ana Motel where two of the characters stay overnight is a tip of the hat to Spielberg’s Indiana Jones movies. Take a step back and realise that the home of Roy Neary in the original Close Encounters Of The Third Kind is situated in Indiana and, maybe do a little better at connecting the dots on your film references people!

Thunderbolts*

The Mild Bunch

Thunderbolts*
Directed by Jake Schreier
USA 2025
Marvel Disney
UK Cinema Release Print - IMAX version

Warning: Yeah, there’s some spoilerage here... big one at the end.

Thunderbolts* is the final part of Phase Five of the Marvel Cinematic universe and it’s almost but, not quite, a good film too. This one involves straggling characters from previous films and TV shows coming together to form a ‘rag tag’ group of C-list Marvels going up against a larger power and, ultimately, winning the day... in a fashion.

So we have the brilliant Florence Pugh being interesting as ex-Black Widow Yelena (sister of Natasha), David Harbour returning as her father, the hilarious Red Guardian, Sebastian Stan back as main staple character Bucky Barnes (still a million miles away from the Bucky I know from the comics but a pretty good character and actor, nonetheless), Wyatt Russell (son of Kurt) as failed Captain America substitute gone rogue American Agent, Olga Kurylenko as Taskmaster (also from Black Widow, reviewed here and Hannah John-Kamen as Ava Starr (from Ant-Man And The Wasp, reviewed here). All working for and against (it gets blurry) the MCU TV and movie character Valentina Allegra de Fontaine, played by Julia Louis-Dreyfus.

And I’m telling you now, don’t get too attached to these characters until half an hour has passed because the one I was most interested in seeing developed as a character gets killed very early in the film (I won’t reveal who here, though)*. We also have, spoiler alert, Lewis Pullman playing Bob (aka The Sentry and The Void)... I’ve not read any of the comics of this character so can’t tell you if he’s a good version of him or not.

What I can tell you is that I was really engaged with this movie and having a good time for the first three quarters... which involved setting up the characters, trapping them all in an armoured bunker and following them as they escape and make their way back to New York for a final reckoning. Alas, the last quarter of the movie seemed pretty dire to me and really took the wind out of my sails. As soon as they’re back in New York, things got both ridiculous and dull. For me anyway.

So, I didn’t quite like this as much as the last Marvel movie, Captain America - Brave New World (reviewed here) but I do like the characters better. Although, it has to be said, the dialogue writing on this  was not a patch on any of their previous appearances.

There are a couple of problems with it.

For instance, the film starts out with Florence Pugh jumping off the second tallest building in the world and she fought to do this sequence for real herself (pulling a page from Tom Cruise’s book) and, yeah, she really does it. The down side is that I’m telling you this because, if you didn’t know this, you wouldn’t have been able to tell. It looks like a stunt double doing it due to the way it’s cut and lack of close ups on her face. If you’re going to throw your lead actress off such a tall building for a movie, then you might as well shoot it to make it recognisable as such, no?

Another thing is that, while it has a nice gritty aesthetic for the majority of the movie, there’s a certain point... a big battle scene where we first meet The Sentry in his ridiculous costume... where the aesthetic is just clashing with the action on screen. The result was... and to be fair I would have thought of this no matter how the rest of the movie was filmed... I sat there in the cinema thinking, for a good few minutes, that I was watching Superman IV - The Quest For Peace. Honestly, The Sentry to me just looked like Nuclear Man from that unfortunate movie. It popped me right out of the film and I had a hard time climbing back into it. It also didn’t help that the resolution of the film reminded me of Ang Lee’s muddled ending of Hulk. It’s all about fighting your inner demons folks, right? A more philosophically based internal battle was not the conclusion this movie needed. At least, I didn’t think it worked that well.

Now, one of the things the trailers and even the IMAX countdown opening were pushing was the next movie in the MCU (which comes out in a couple of months)... and there are two post credits scenes in this one. All I’m saying is, if you want to be surprised by the second one then, seriously, don’t look at the music credits on this movie (it’s a complete spoiler). What it also does, in my opinion, is take the wind out of the sails of the reveal of the time period of the next movie by throwing out the term ‘interdimensional’. I mean, I expected the next movie would be a multiverse movie anyway (and the trailers look terrible) but this is pretty much confirmed here.

Finally, you’ll notice that the title of Thunderbolts* has an asterisk on it. Now I’m sure there must have been some people wondering what this means but, I’m sure there must have been as many people thinking... “no, please don’t do the obvious here because this would be such bad news for the franchise". But, yes, they totally go there with the whole asterisk thing and, well, it kind of takes away hope for decent screen time for certain returning characters in future installments, in a way. All I’m saying is... I'm guessing Purdey and Gambit will not be turning up in the future of the franchise (and if you’re British you’ll probably know exactly what I’m saying here).

And that concludes my review of Thunderbolts*. Starts off good, continues that way for a while... has a terrible last act. But it was nice seeing Yelena and Red Guardian again... although there seems to be no explanation for the absence of Rachel Weisz here (did I miss something in a TV show?).

*Although it’s not stopped the marketing team from adding that character into a scene that doesn’t include said person for some of the publicity shots... see above.

Monarch - Legacy Of Monsters

Portal Poppers

Monarch - Legacy Of Monsters
10 Episodes
Airdate: November 2023 - January 2024
Toho/Apple

Warning: A legacy of spoilers.

Well, I have to admit I wasn’t really expecting much from Monarch - Legacy Of Monsters but I certainly got into this and am now looking forward to a second series. You’ll perhaps remember that Monarch is the mysterious organisation, mostly friendly, who monitors and tries to predict and limit damage done by the so called ‘Titans’ in the US branded Godzilla/King Kong movies... aka The Monsterverse.

Now, to just lower your expectations a little, yes, you do see them make cameos in the series, along with a few other monsters but, the actual monster scenes in these episodes are pretty fleeting. You get maybe one sighting (sometimes two) an episode for a minute or two but, that’s okay, because the story is so interestingly written and pretty brilliantly performed that you don’t need the monsters to make for an engaging show. Maybe they could have shortened the title of the show by three words though, so as not to get too many people’s expectations up.

Okay, so this is one of those shows that flip flops back in time so you have the three founding characters who started Monarch in the 1940s/50s played by the absolutely brilliant Mari Yamamoto as Keiko, Anders Holm as Bill Randa (playing the character that John Goodman played in Kong - Skull Island but as he was in the 1950s... and, yes, Goodman also turns up at the opening of the first episode) and last but by no means least, Wyatt Russell, son of actor Kurt Russell, playing a character called Lee Shaw... also played by his father in the modern sections of the show.

But you also have the modern day story with a sister played by Ana Sawai and a brother played by Ren Watabe, who find out about each other in different corners of the globe after their dad (who is the son of Keiko and Bill) is missing, presumed dead. And then they find out that he’s been living two lives of two secret and simultaneous marriages but, also, was once working for Monarch. And there are a whole bunch of other characters who are equally important but if I start listing them all this would be one long  blog entry.

What I will say is that it’s absolutely brilliant and intriguing and is set mostly in the 1950s and 2015 (after the first Monsterverse Godzilla movie) but also in the 1960s and 1980s for little snippets. And, if you’re like me and doing the maths, yes, that should mean that older Russell, Kurt, should be in his nineties by the time of the show’s setting if younger Russell, Wyatt, is playing the same character in the early 1950s. And you’d be right but, here’s the thing... that ageing difference is also built into the plot and teased very early on in the series until, in the final two episodes, everything begins to make a bit more sense. All I’m saying is it has something to do with those portals into other worlds as they were in the time of these films... the 2021 movie Godzilla VS Kong (reviewed by me here) brings more clarification to the package, if you think about it... but that’s another story.

And while there’s not an awful lot of expensive monster mayhem in the show... it’s definitely a fast paced and very globe hopping experience, with more than enough questions, intrigue and drama to keep you on your toes. The odd appearance by a monster is just icing on the cake a lot of the time... plus, of course, the main reason for having an organisation like Monarch in the first place.

The music is kinda okay too although, I have to say, I would have liked to have heard the old Akira Ifukube Godzilla themes at least once in this... it’s a shame they didn’t put in an appearance, for sure. Still, I guess you can’t have everything and, by the time the last episode of season one ends, the present day has shifted to 2017. So I’m assuming, if this runs for another few seasons, it might even catch right up to the year of broadcast.

I hope we get these and, without getting any spoilers into the mix, if one of the above actors is to return (and I hope he does) then it makes sense that some years go by for some of the other characters if they embark on a rescue mission, of sorts. Anyway, I’m not going to say too much more about this one other than I enjoyed Monarch - Legacy Of Monsters way more than I thought I would and I’m glad it’s been renewed for another series at some point.

The Falcon And The Winter Soldier

More Tease, Falcon

The Falcon And
The Winter Soldier
Air Date: March 19th - April 23rd 2021
Nine Episodes

Warning: This one has all the relevant
spoilers... you have been cautioned.

Okay, so the second of the post-Avengers: Endgame internet shows, following on from the very interesting WandaVision (reviewed here), is The Falcon And The Winter Soldier. Now, this is going to turn out to be a very short review, I think because... well, a) I mostly had no huge problems with it overall and b) it’s a very simple story with a little bit of character development in it but also a heck of a lot of action. So it would be fair to say, I think, that nothing much happens in this one.

It was pretty obvious from the announcement of the show that the intention of this series was pretty obvious. One, they needed to have the previously ‘at each others throats for the most part’ pairing of Sam Wilson (aka The Falcon) and Bucky Barnes (aka The Winter Soldier) go through a healing process and get some bonding there so the characters could be friends by the end of the last episode. And, yes, that indeed happened. The second thing which I thought was an obvious thing was, they would need to set up the events which happened in the comics for a while (and which I already thought had more than enough set up at the end of the aforementioned Avengers Endgame to require anything further but... here we are). Namely, they had to have The Falcon taking over the mantle of Captain America. And they tried to be oblique about it by having Wyatt Russell (son of Kurt) in there as the new Captain America but, yeah, pretty much everyone knew he was going to become U.S. Agent by the end of the show, right? The truth is, when Bucky brought Sam a new set of wings from Wakanda in the fifth episode, it was pretty obvious that when Sam did eventually open up the suitcase, that he’d find a new suit which is basically The Falcon painted up as the new Captain America.

So, yeah, no surprises in this but the writing is good and, it turns out, Anthony Mackie (The Falcon) and Sebastian Stan (The Winter Soldier), both reprising their roles from various Marvel Cinematic Universe movies, actually have good chemistry and it’s quite fun to watch the cynical ‘partnership’ evolve over the course of the six episodes. The story features both cameos and more substantial roles from regular characters/actors in the movies, such as Don Cheadle as War Machine, Daniel Brühl as Baron Zemo and Emily VanCamp as Sharon Carter (niece of Agent Peggy Carter). There’s also a few of the female warrior women from Wakanda in the mix, in one of the few surprising moments in the show.

And it’s straight forward action fodder for sure but, it works really well, is pacey and often feels like there’s more at stake than there probably actually is. One bizarre change, however, is the transformation of the comic book character Karl Morgenthau, aka Flag Smasher, into a woman... Karli Morgenthau, played by the wonderful Erin Kellyman (who played the young girl who started the rebellion against the Empire in Star Wars - Solo... reviewed here), who leads a group of terrorists known as the ‘flag smashers’. Her presence brings one of the few attempts at tonal colour in the show as The Falcon wrestles with the idea of bringing down and stopping a perceived ‘terrorist’ whose ideals he believes in, while obviously not approving of her ‘murder everyone’ methods.

Actually, if there’s one criticism I could level at the show, if I really felt the need, it might be that it was just too much emphasis on action throughout and not enough talk but, honestly, Marvel does this stuff so well at the moment that I honestly didn’t mind it. One of the things which did make me concerned was the idea that Sharon Carter is ‘the powerbroker’ and, at the end when she is welcomed back to the US government, it’s made quite clear in a post credit scene that she’s definitely the villain of the piece, ready to sell the secrets of the US Government to the highest bidder. Which is a bit of a turnaround for the character, I believe... unless of course, she’s a Skrull version of her character. That’s something which is an alley the writers could definitely go down after the scenes pertinent to that little subplot in Spider-Man Far From Home (reviewed here) and WandaVision.

One of the things which is a shame is the inclusion of Julia Louis-Dreyfus as Valentina Allegra de Fontaine. Her character has a very strong, ‘non-introduction’ in this when she first contacts the person she will recreate as U.S. Agent. There’s not much information given to the audience (nor the other characters) about who she is and the reason is, I believe... coronavirus. Yep. Turns out, from what I can understand, this character was supposed to be a call back to her first appearance in the new Black Widow movie (out soon at cinemas, maybe) but, of course, because of the pandemic, the release of the movie was severely delayed so it turns out this is our ‘by proxy’ introduction to her character. So, yeah, I guess that character doesn’t die in the upcoming movie then.

Another grumble might be why, with the subplot of the first black Super Soldier from the Second World War, that they didn’t get Chris Evans back to do a cameo in the last episode but, well, I guess that would have put a lot more strain on the budget. As it is, in The Falcon And The Winter Soldier... well... all I will say is that Baron Zemo has all the best scenes here. I also liked composer Henry Jackman revisiting thematic elements from his score to Captain America - The Winter Soldier (reviewed here) for some of these sequences involving characters from that movie.

And that’s that for The Falcon And The Winter Soldier. Like I said, a short review for a short series which did the job it needed to do and, yeah, we’re already hearing that there will be a fourth Captain America movie headed up by Anthony Mackie as Cap (please change his costume... the new one doesn’t work guys... it just looks clunky) and Sebastian Stan as The Winter Soldier. Yeah, that could probably work well but... I think having a Captain America who doesn’t have the benefit of the Super Soldier serum is a bit of a stretch of the imagination, even for Marvel comics fans, to be honest. We shall see, I guess.

Overlord

Horrors Of War

Overlord
2018 USA Directed by Julius Avery
UK cinema release print.

Cry havoc... and let slip the dogs of war. Or, in this case, let slip the reanimated corpses of French villagers given a substance which turns them into crazed, mixed up super soldiers.

When I first saw the trailer to Overlord, a month or two ago, I found it interesting that J. J. Abrams was producing what looked to be a new entry into the ‘zombie nazi’ subgenre but I figured, at the very least, that meant there would be some money thrown at it so it might be worth taking a look. It could go either way in terms of quality and the trailer wasn’t really giving a good flavour of what the final product might be. So I went and saw this the opening night of its UK release and... by golly I’m glad I did.

Overlord is one heck of a well made horror movie, directed by Julius Avery and, well, it’s just extremely competently made and is entertaining as you could hope for. As far as it being a zombie Nazi movie... well technically it’s not. Most of the reanimated people in this are not actually German soldiers and the one Nazi officer who does benefit greatly from the effects of the super serum that the typically stereotypical ‘bespectacled German war scientist’ in the movie is developing isn’t... well, he isn’t dead. There are a few reanimated corpses of note though so, while not absolutely a ‘zombie Nazi’ film in its absolute correct definition, the juxtaposition of those two elements certainly throws it into roughly the same kind of area, if genre categorisations are your thing.

The film tells the story of a unit of soldiers flying into France to blow up a communications jamming unit on top of a Nazi controlled church (more like a fortress, truth be told). However, after they are shot down, the few survivors of the incident manage to find each other and regroup to carry on the mission. The main protagonist is Boyce, played absolutely wonderfully and with a fine mix of both confidence, righteousness and vulnerability by Jovan Adepo. Now, the only big problem I had in terms with suspending disbelief in a film about reanimated corpses taking a super serum is that, heck, you would not get that racial mix happening in the US army in the 1940s. The soldiers would have been segregated into different units but... if you can get past that, Adepo really owns the character and gives the audience someone to believe in and care about.

Another member of the troop is Ford, the tough and slightly enigmatic member of the unit. He also brings a nice quality to the film and all the way through I kept thinking how much this character would have been well played by Clint Eastwood back in the 1960s or 1970s. Now I knew it wasn’t Eastwood’s son playing this role (for my thoughts on him, read my review of Pacific Rim - Uprising here) but, once I’d stayed behind for the end credits and found out the actor’s name was Wyatt Russell, it all made sense. Closer investigation showed his full name to be Wyatt Hawn Russell and he is, in fact, the son of Kurt Russell and Goldie Hawn... so looking back I must have been picking up on a vaguely Snake Plissken vibe to the character. He does really well in this movie too.

Now, it has to be said, the film is pretty intense and brutal in places, even before the surviving troops befriend one of the local French women, Chloe (again, played quite brilliantly by Mathilde Ollivier) and get embroiled with a triple mission of blowing up the tower, stopping the mad experiments which are taking place in the basement of the fortress and rescuing Chloe’s younger brother. One of the reasons it is so intense and, for once, had me on the edge of my seat, is because the whole ‘war is hell’ angle is played up so well that it more than holds its own against the horror element. Scratch that, I would go as far as to say the way in which the conflict between the Nazis, the American soldiers and the occupied French villagers is handled is absolutely what gives this film its edge over a lot of others where they might not necessarily take up the amount of time to pitch the setting right. In fact, apart from a gooey mess of a body found in the early stages of the film, the horror B-movie (with an A-movie budget) doesn’t even start to emerge until about a third to a half of the way through the story. When it does it’s equally fraught, as Boyce finds himself on his own midst the enemy in the compound for a while... something the director really ramps up by using a lot of hand held camera during these passages. Heck, even Boyce’s parachute jump at the start of the movie is an absolutely drawn out, nerve stretching suspenseful sequence and it just keeps getting more intense from there.

The other thing about this is that the film doesn’t skimp on is showing the brutality of war and what both sides are willing to do in the conflict. There’s one sequence in the middle of the movie, when the German officer who is built up as the main villain of the piece is being ‘interrogated’ by the Americans, where Ford is seen to be almost as brutal as the Nazis in his methods of acquiring the information he needs to know. To be fair, you’re definitely rooting for Ford again by the end of the film but this movie really takes no prisoners when it comes to being fair about what people are capable of doing for their respective side of the conflict. For example...

The film is full of clichés such as the soldier who is perceived as nasty but then turns out to redeem himself and have a heart of gold by stopping a bullet for the child he pretends to hate. The soldier in question is played by John Magaro and, like any of these actors, you could see them holding their own in some of the great war movies such as Spielberg’s Saving Private Ryan. Ditto for the cliché of the war photographer who’s not really a soldier but ends up going through hell (played here by Iain De Caestecker from Marvel’s Agents Of SHIELD). The thing is, though, because the film is so dark and raw when it needs to be and doesn’t really flinch in the ‘horrors of war’ department, I really didn’t mind the clichés inherent in some of the character types. Indeed it’s kind of comforting that they’re there in a way and, of course, it makes for really useful shorthand in telling the story quickly. And with Jed Kurzel’s wonderful score backing up the visual intensity... sadly unavailable as a commercial stand alone release when I tried to buy a copy of the soundtrack, CD or otherwise... you really do feel it when the action gets going and things get a little insane.

One other thing about this movie I should probably warn you about, if you’re not a die hard horror fan... there’s a lot of blood and viscera in the film. You will see a person, for example, shot in the head and then, with his face half hanging off, dose up on the serum before beating everybody else up. This is war and when the bullets start flying, sometimes when you least expect them to, then the director doesn’t look away when it comes to throwing in the guts and gore. Not necessarily an element which I particularly look for in a film but, if the story atmosphere calls for it then I don’t think you should skimp on it and this seems to be the view shared by the film makers on this one, to be sure.

So that’s my take on Overlord, a movie which I wasn’t too hopeful about but which I’m really glad I saw. This is quality B-movie exploitation shocks done just right and with, for once, a big enough budget to be able to pull it all off credibly. If you are into horror movies, or war movies or, as like this, a thrilling combination of the two, then you should definitely put Overlord near the top of your list because it’s all put together extremely well. Oh... and if you have already seen this and you were in the 8.20pm screening at Enfield Cineworld in Row E on the opening Wednesday... get a life. You don’t need to be texting on your phone all the way through the film. Turn the damned thing off and watch the bloody movie.