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 also impressive throughout. 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.

Sadly, those positives are 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 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.

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!

PREVIEW: Burner (2026 Film) - Starring Kacy Owens and Akina Wylie

Preview by Jon Donnis

Burner arrives as a new female led action thriller from writer and director Robert Orr, set to make its UK digital debut on 1 June courtesy of Seven Tales. It follows a familiar but combustible setup, where a second chance at life is quickly threatened by the weight of a violent past that refuses to stay buried.

At the centre of the story is Kiki, played by Kacy Owens, who is released from prison and regains custody of her teenage daughter Lola Ray, played by Akina Wylie. Kiki is determined to stay on the straight and narrow, trying to build something stable after her release, with motherhood giving her a clear focus and a reason to move forward.

That fragile stability does not last long. Her violent drug dealing ex husband, played by James Oliver Wheatley, reappears and drags her back towards the criminal world she has tried to leave behind. His return brings immediate danger and the kind of pressure that threatens not just her freedom, but her relationship with her daughter as well.

As the situation tightens, Kiki is forced into a position where avoidance is no longer an option. The story pushes her towards confronting her past directly, with the suggestion that the only way out might involve destroying the ties that once defined her life, even if that comes at a heavy cost.

Burner positions itself as a fast moving, tension driven thriller built around survival, loyalty and consequence. With its focus on a mother fighting to protect her daughter while facing down a criminal past that refuses to let go, it is shaping up as a release that leans heavily into personal stakes and escalating danger.

On digital 1 June from Seven Tales  

Apple TV - https://apple.co/4oe0EKd

PREVIEW: Fall to the Top (2026 Film) - Starring Paul Chuckle

Preview by Jon Donnis

Paul Chuckle is set to surprise audiences in Peter Hirst’s gritty new British crime thriller Fall to the Top, arriving on digital on 8 June courtesy of Reel2Reel Films. Fresh from receiving his MBE for charitable work earlier this week, the much-loved children’s TV figure makes a sharp shift in tone, stepping into a far darker world of crime and consequence.

In a striking departure from his comedy roots, Chuckle plays ‘The Jackal’, a ruthless hitman and master manipulator. The character is described as someone who psychologically torments his victims, pushing them into madness before their brutal end. It is a role that places him firmly in the shadows of London’s criminal underworld, far removed from the light-hearted image that made him a household name.

The story follows frustrated slacker Mickey, played by Stephen Reilly, who is pulled into a violent world of drugs, power struggles and corruption. As he fights his way up through the ranks, his growing arrogance begins to take hold, feeding paranoia and instability. His path eventually crosses with the notorious Jackal, a meeting that forces him to confront the harsh reality that weakness has no place in the city’s deadly drug trade.

Fall to the Top leans into a bleak and tense vision of ambition gone wrong, with Mickey’s rise and psychological decline sitting at the centre of its narrative. The film is out now on Digital from Reel2Reel Films.

Available on Prime Video at https://amzn.to/4euX22U

REVIEW: Masters of the Universe (2026 Film) - Starring Nicholas Galitzine and Jared Leto

Review by Jon Donnis

The return of Masters of the Universe to live action arrives with a confidence that feels earned rather than forced. This second adaptation of Mattel’s sword-and-sorcery franchise leans heavily into its roots, picking up the familiar thread of Prince Adam, the Sword of Power, and the fractured world of Eternia under Skeletor’s rule. After being sent to Earth as a teenager and separated from his past for 15 years, Adam is drawn back into his destiny, discovering a ruined kingdom and a resistance struggling to survive under tyranny.

What follows is a straightforward but energetic fantasy adventure that rarely loses sight of what made the original material endure. The film understands its own heritage and is unashamed about it. There is a playful, almost nostalgic rhythm to the way Eternia is presented, as if the filmmakers have finally embraced the fact that this world works best when it feels like myth filtered through childhood imagination. Nicholas Galitzine’s Adam carries the emotional arc with a grounded performance, even if he could be more muscular to truly fit the role, while Idris Elba brings weight and authority to Duncan, giving the film a steady moral centre. Camila Mendes as Teela fits neatly into the action-driven dynamic, keeping the pace moving even when the story briefly settles.

The biggest talking point, unsurprisingly, is Jared Leto’s Skeletor. He leans into theatrical menace and biting humour, creating a villain who constantly threatens to steal focus from every scene he enters. There is a mocking irreverence to the performance that fits the tone of the film, keeping things just the right side of comic book excess without tipping into parody. The action itself is frequent and well staged, with moments that feel pulled directly from playground imagination rather than grounded realism, which works in its favour.

That sense of fun is the film’s strongest asset. It captures the spirit of the 1980s cartoon era without becoming trapped by it. The story mixes familiar lore with new narrative threads in a way that feels accessible, even for viewers who have no attachment to the franchise. It never takes itself too seriously, and that decision gives it a lightness that keeps the momentum steady through its longer stretches.

However, the film is not without its flaws. At two hours and fifteen minutes, it runs longer than it needs to, particularly in the middle sections where the pacing becomes uneven. There is also an overreliance on CGI, which, while technically strong, occasionally overwhelms the more grounded character moments. Some sequences would have benefited from restraint, allowing the performances to breathe rather than competing with constant visual spectacle.

Despite these issues, the film lands its emotional beats in the final act. The transformation of Adam into He-Man feels earned rather than rushed, and the final confrontation with Skeletor carries enough weight to justify the build-up. The ending restores a sense of balance to Eternia, with Queen Marlena re-established as ruler and Adam finally accepted as its protector. The post-credit moments tease further expansion, and that is all I will say!

As a whole, Masters of the Universe succeeds because it commits fully to what it is. It is loud, colourful, occasionally messy, but consistently entertaining. It feels designed for audiences who grew up with the franchise but still wants to be accessible to newcomers. Mainstream critics may struggle with its tone, but viewers looking for straightforward fantasy spectacle will likely find plenty to enjoy.

It is not perfect, but it understands its purpose. On balance, it is a solid, enjoyable return to Eternia, carried by strong performances and a clear affection for the source material.

I score Masters of the Universe a solid 8.5 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