The reviews are in for Steven Spielberg’s new sci-fi flick Disclosure Day – and so far the consensus is that the great director has delivered another worthy addition to his canon of alien movies.

The film – which is released in UK cinemas today – currently boasts a score of 85 per cent on Rotten Tomatoes after 137 reviews, while its score on fellow review aggregator is 74 based on 47 reviews.

While those scores are a little lower than his previous two movies The Fabelmans (92 per cent on RT and 85 on Metacritic) and West Side Story (91 per cent on RT and 85 on Metacritic), it still indicates that the vast majority of critics were broadly on board with new movies.

Radio Times gave a mixed 3 star review in the film, praising the iconic filmmaker for injecting some of his classic awe-inspiring moments into the movie that “highlight why for so long Spielberg has been considered the unimpeachable king of entertaining big-budget filmmaking”.

We also gave a positive verdict on the performances – particularly from Emily Blunt – but remarked that the screenplay from regular Spielberg collaborator David Koepp “has a clunky and unfocused quality that occasionally makes it difficult to truly fall under the film’s spell”.

Elsewhere, the film received 4-star reviews from The Guardian, The Independent, The Evening Standard and Empire Magazine, while on the other end of the spectrum there were 2-star verdicts from The Times, The Telegraph, Little White Lies and BBC.

Meanwhile, the film perhaps received more glowing praise across the pond, with top marks from RogerEbert.com and positive write-ups in The Atlantic, IndieWire, Vulture and The Hollywood Reporter.

Disclosure Day stars Emily Blunt, Josh O’Connor, Eve Hewson, Colman Domingo and Colin Firth, with the synopsis reading: “As a massive government conspiracy unravels, a targeted whistleblower races against time to bring about the extraordinary event that will change human history forever: the day of ultimate alien disclosure.”

Disclosure Day is released in cinemas on Wednesday 10 June 2026.

Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what’s on. For more TV recommendations and reviews, listen to The Radio Times Podcast.

Film Reviews

I Love Boosters
Director: Boots Riley
Neon, Focus Features, Universal Pictures
In Theaters: 05.22.2026

Recent times have shown us the impending horrors of late-stage capitalism. Quite the statement to start with.
Well… knowing this audience, this is an obvious statement. One could go on and on about how much this system has taken from people and easily become lost in the chaos. However, Boots Riley’s newest movie chooses to embrace chaos — a colorful and absurd chaos, that is. I Love Boosters is an afro-surrealist dreamscape that interrogates the hypocrisies and contradictions of capitalism while highlighting the importance of community, action and especially disruption. The film designs a new look for the revolution that shocks and inspires the audience to take action.

Keke Palmer (One of Them Days, Akeelah and the Bee) stars as Corvette, an aspiring fashion designer and leader of the booster team, The Velvet Gang, a group that shoplifts high-end clothes and sells them at a discount price. Corvette works alongside her two friends, Sade (Naomi Ackie, I Wanna Dance with Somebody, Mickey 17) and Mariah (Taylour Paige, The Toxic Avenger, Beverly Hills Cop: Axel F) as they try to make ends meet. When Corvette discovers that designer Christie Smith (Demi Moore, St. Elmo’s Fire, The Substance) stole the design she had submitted for a contest, she targets Metro Design, Smith’s fashion chain. In the midst of their plan, they meet and team up with Jianhu (Poppy Liu, Hacks, Dog Man), a Chinese factory worker protesting the poor working conditions of Christie Smith’s factories. Things get even more insane when they discover that Jianhu has a teleporter — and uses it in their heists to rob stores, leading viewers to discover more about the device.

Those expecting a typical narrative about revolution and taking down the system won’t find that here. Rather, I Love Boosters tries to be a revolution in its own way against Hollywood and the looming dread of the AI bubble through its storytelling and filmmaking. Riley takes full advantage of this medium and builds a world that is bursting with color and off-the-wall visuals — like the Smith’s slanted building or the crazy costumes worn by The Velvet Gang. He even goes as far as calling back to classic films like Jason and the Argonauts, with a live-action/stop-motion hybrid sequence that brings joy to anyone who wants tactile-ness back in movies.

Riley also forgoes any semblance of subtlety, but still manages to pack so much substance into the film. Of course, the visual gags can be peeled back to reveal deeply harsh truths about our world. Mariah’s hilarious trick to lighten her skin by holding her breath speaks volumes about the exhaustion black people deal with when code-switching. Or take the entire dissertation we get mid-way through the film about dialectical materialism, essentially telling the audience that Karl Marx is required reading for a workers’ revolution.
The film also acknowledges the messiness that comes with organizing and how acceleration is necessary for meaningful change. This goes without even diving into the uniquely black aspects of the film. The parts that speak specifically to the ones who lead the way in times of revolution and the roadblocks they face, from the appropriation of their art to the exploitation of their labor.
By focusing on the fashion industry, Riley dissects classism and elitism that exists in the space that is meant to celebrate human expression. The film basically states that those at the top are the artists, while everyone else is the art. In other words, those at the top shape the world into what they want it to be. But in truth, everyone wants to be an artist and put some of themselves into the world. When we do that, we can undoubtedly create a more equitable society.

Praise should also be given to the actors in this film. The leading ladies disappear into their roles, while bringing a level of charm and energy to every scene that makes you believe in their friendship. Of course, Paige steals the show in every scene she is in with her endearing performance that brings out the best in Palmer and Ackie. Don Cheadle (Hotel Rwanda, Iron Man 2) and Will Poulter (We’re the Millers, Midsommar) were also standouts. Cheadle, as the pyramid-schemer Dr. Jack, gives a great performance through layers of make-up and Poulter steals the show in every scene he is in as the uptight, petty Metro Designs branch manager Grayson.

While I praised the film for exploring so many meaningful aspects of revolution and actualization, you could still feel how busy this film truly is, which left certain ideas feeling underdeveloped. LaKeith Stanfield’s (Knives Out, Sorry to Bother You) character touches on the idea that men often steal women’s ambitions and souls to fulfill their own needs. While this did give us quite a memorable scene, his presence felt tacked on. Also, with so much happening in the movie, there were moments where the story felt like it was lost. Nonetheless, Riley manages to bring it all together in the end.

Once again delivering a scathing criticism of capitalism that is equal parts hilarious and optimistic, Riley’s approach to storytelling oozes with unconventionality, and through it he creates imaginative visuals that both shock and impress you. At the end of the day, I Love Boosters is a celebration of collective action that reminds us just how interconnected our issues are. —Angela Garcia

Read more film reviews by Angela Garcia:
Film Review: You, Me & Tuscany
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When Gustavo Dudamel instructs the Los Angeles Philharmonic to stand at a curtain call, the players stand. He motions, sit; they sit.

Sunday afternoon, they wouldn’t stand. Again and again, they stubbornly refused. With an encouraging smile, Dudamel took the concertmaster’s arm, gently lifting him to his feet, but he sat back down when no one in the orchestra followed. Dudamel never looks nonplussed. He looked dumbfounded.

This was Dudamel’s moment, his last concert at Walt Disney Concert Hall as L.A. Phil’s music and artistic director. Those who were standing comprised the capacity audience, their cheers deafening. The orchestra lustily applauded like everyone else.

It turns out that Dudamel is both adept at saying goodbye and just as good at not meaning it. Eras don’t end for him so much as become transition points. There was reportedly Champagne flowing in the dressing room after Sunday’s matinee, but the L.A. Phil needs to buy its bubbly in bulk. Dudamel’s contract continues through the summer, and the orchestra will still see plenty of him. In August he takes the L.A. Phil on tour to the Proms in London and the Edinburgh International Festival in advance of four big nights at the Hollywood Bowl.

Dudamel then returns to Disney in December to conduct the L.A. Phil, though with three lofty new titles to his name: Oscar L. Tang and H.M. Agnes Hsu-Tang music and artistic director of the New York Philharmonic, L.A. Phil Diane and M. David Paul artistic and cultural laureate and Michael Eisner founding director and conductor laureate of Youth Orchestra Los Angeles (YOLA). He’s going to need new business cards the size of an iPhone Pro Max to fit all that in.

But the effort to get his orchestra on its feet was not an idle gesture. Dudamel’s Disney “finale,” however momentous, lacked nearly all the trappings of pomp. In a Thursday night marathon, he paid tribute to the orchestra members, giving 17 players solos in various concerto movements. The one bit of unavoidable pomp was Dudamel conducting the premiere of John Williams’ “Bravo Gustavo,” commissioned by the L.A. Phil and featuring four solo trumpets — Thomas Hooten, Christopher Still, Jeffrey Strong and James Witt — in a joyous, triumphant celebration of what has become a close friendship by the master of cinematic joyous triumph.

The program itself was a potpourri of surprise, given what some of the players came up with. The long list of 11 mostly rarities featured 13 soloists. It began with a madcap movement from a bassoon concerto by Rossini (with Whitney Crockett as deadpan soloist). Among other curiosities were Matthew Howard and Joseph Pereira cheerfully pulverizing Philip Glass’ Fantasy Concerto for Two Timpanists and Orchestra, as well as Boris Allakhverdyan suavely ghosting jazz legend Artie Shaw in his Clarinet Concerto. There were too many to list and it’s too bad because this became a one-of-a-kind showcase of orchestral versatility, which ended with the premiere of another new Dudamelian orchestral tribute, Gabriela Ortiz’s “Mujer Arena.”

Patrons clap for Gustavo Dudamel as he conducts his final concert Sunday in Disney Hall.

(Jason Armond / Los Angeles Times)

The final subscription weekend concerts featured two large-scale works for the orchestra and an indispensable Los Angeles Master Chorale. John Adams’ “Harmonium” operates on questioning, shifting moods of introspection, humility and awe. In Venezuela composer Antonio Estévez’s “Cantata Criolla,” a song contest between a macho Venezuelan troubadour and the devil leads to the spiritual ecstasy of exorcism.

When Dudamel signed his contract to be music director of the L.A. Phil, he said his first priority was to conduct “Cantata Criolla.” He did so in his first season to help inaugurate a new festival he called “America and the Americans.” That festival idea formally and informally has been a thread throughout Dudamel’s 17 L.A. Phil seasons, at Disney and the Hollywood Bowl and YOLA, as well as on tours to Europe, Asia and Latin America.

There was also surely symbolism in beginning this Disney occasion with a work by Adams. Dudamel’s first Disney concert as music director opened with the premiere of Adams’ “City Noir,” the composer having just been appointed the orchestra’s creative consultant and a composer to whom Dudamel has become deeply committed over the years. His first concert at Lincoln Center as music director of the New York Philharmonic in September will open with Adams’ “On the Transmigration of Souls,” in commemoration of the 25th anniversary of 9/11.

Written in 1980, Adam’s score “Harmonium” is ethereal and heavy in the choral settings of unsettling poems by John Donne (“Negative Love”) and Emily Dickinson (“Because I Could Not Stop for Death” and “Wild Nights”). Adams does not stop for meaning, his early minimalist style causing the words to flow over you whether in somber reflection or the wildness of wild nights that do, indeed, stop for death.

Dudamel first conducted it at the Hollywood Bowl, where it washed over the amphitheater like a mist. In the immediacy of Disney, it sunk in as wondrous reflection on Donne’s line: “Though I speed not, I cannot miss.”

Estévez’ “Cantata Criolla” is a Venezuelan classic from 1954 but little known outside the country, despite having been championed by Aaron Copland as part of his Pan-American musical advocacy. The lushly poetic text by Alberto Arvelo Torrealba happens to have been written by the grandfather of one of Dudamel’s closest collaborators, film and theater director Alberto Alvero, who directed the L.A. Phil “Die Walküre” last month.

Dudamel’s 2010 performance of Cantata Criolla” was a theatrical event devised by Arvelo that included staging and a film and an introductory reading of a text by screenwriter Guillermo Arriaga, “América,” read by actors Helen Hunt, Edgar Ramirez and Erich Wildpret.

Members of YOLA (Youth Orchestra Los Angeles) perform during Gustavo Dudamel’s final concert Sunday in Disney Hall as L.A. Phil music director.

(Jason Armond / Los Angeles Times)

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This time there was no film, no lighting and not much theater, Dudamel relying on the sheer intensity of the music. Rather than incantation, “América” was given dramatic veracity, enacted by an irresistible sextet of YOLA musicians, who also happen to be budding thespians. Their ages ranged from 10 to 20. Arriaga’s poem is a long series of names, phrases, lines from politicians and writers that encapsulate America. When a young child intones with arresting passion Lincoln’s “A house divided against itself cannot stand,” or Allen Ginsberg’s “I saw the best minds of my generation destroyed by madness,” we are made aware that the best minds of our generation will not let us stop them, period.

Gustavo Dudamel exits the Walt Disney Hall stage Sunday.

(Jason Armond / Los Angeles Times)

Without a break, Dudamel began Estévez’s complex cantata, which he conducted from memory, with a searing fury that did not let up for 35 minutes. The two vivid soloists were tenor Anthony León as the cocky troubadour and baritone Eleomar Cuello as the cocky devil. Hopeful adrenaline triumphed over evil but only with help from above. The marvelous Master Chorale marvelously set the moody scene for triumph.

The “Dude” who conducted “Cantata Criolla” 16 years ago was a youthful advocate, barely older than the oldest now in YOLA. The Dudamel who led this “Cantata Criolla” is now a messenger, and Sunday’s concert was not a party but a mission.

It was recorded and will be released only on vinyl as a limited-edition two-LP set and available next month only at the L.A. Phil store or ordered online.