Disclosure Day Review

Spielberg has made this film before, more than once, and Disclosure Day knows it. A woman starts receiving something, a man on the run has proof, and a contractor wants both of them quiet. Margaret Fairchild is a Kansas City weather presenter who speaks a language she does not know on live air, and Emily Blunt plays the disintegration of an ordinary life with a precision most critics fairly called the best work of her career. Colin Firth is the villain as reasonable man.

David Koepp wrote forty two drafts from Spielberg's story, the most of his career, and the joins still show: Robbie Collin's verdict, a big swing that only glancingly connects, is fair about the middle hour. Janusz Kaminski shot it on 35mm anamorphic, and the freight train sequence, three weeks of filming with a real train and a real car driven into it, is the finest pure staging Spielberg has done since Minority Report.

Reviews ran to 80 percent on Rotten Tomatoes and 74 on Metacritic, Peter Bradshaw calling Blunt's a career topping performance, the BBC calling the whole thing a flimsy car chase thriller. It opened to 44 million dollars, the biggest for an original Spielberg film, and finished at 241 million worldwide on a 115 million dollar budget.