The truck chase in Raiders of the Lost Ark.
The T-Rex chasing the jeep in Jurassic Park.
The “Car, Meet Train” sequence in Disclosure Day.
Yup. There’s a white-knuckle scene with Emily Blunt and Josh O’Connor trying to leap from a car wreck being dragged by a train that is as good as any action sequence Steven Spielberg has ever done.
Disclosure Day is awash in Spielbergian delights and his best popcorn flick in decades. It’s a film that has a rocky a start, a preachy middle, and a spectacular ending (including a killer closing line) with healthy doses of humor amidst a sometimes-self-serious script that still manages to deliver suspense and tension. But what makes it so ruthlessly entertaining, despite some narrative fumbles, is the performance of Emily Blunt. She speaks multiple languages (including an alien tongue) and displays a range of emotions that is absolutely staggering, as if every performance she has done prior has been building to this. She is probably the only actress other than Karen Allen as Marion in Raiders of the Lost Ark who has successfully conveyed the archetypical Speilbergian heroine (funny, tough, smart). But Blunt’s character has the added layer of working through childhood trauma by going on an epic hero’s journey of self-discovery. There’s really never been anything like her before in a Spielberg film.
Meanwhile, the story built around Blunt is like a super-sized episode of The X-Files without Mulder or Scully (though there is a fox). Spielberg peppers the film with call backs to his own classics (most notably Close Encounters of the Third Kind) and past film masters. At one point, Colman Domingo has a tete-a-tete with Colin Firth while he sits in what looks like a Hitchcock rocker. Yes, I know Hitchcock furniture is not from Alfred Hitchcock, but maybe this particular rocker was chosen with a wink. In the same scene, two moody lamps provide the light and look like they could’ve been gifted to Spielberg by David Lynch following his cameo in The Fabelmans, which serves as a great one-two-punch with Disclosure Day.
It turns out that the room they are sitting in is part of an elaborate recreation of Emily Blunt’s childhood home, and when Colman Domingo brings her inside, it’s as if she and the audience are re-entering the archetypal Spielbergian suburban home from his 70s and 80s classics. And in classic Spielbergian fashion, it’s a home from which Blunt was abducted by aliens as a child.
Patient viewers on that nostalgic Spielberg wavelength will find much to savor in Disclosure Day, including a thrilling John Williams score. The script fumbles a bit to make the film relevant to current day discourse, but it’s little bother when Blunt and that train careen at such perfect speeds into our wildest imaginations.
The Schleicher Spin 
I loved the film. I was also disturbed by the thinly veiled allegory of the other including immigrants. Humans torturing aliens including children was wrenching as I think of my immigrant parents and the 21st century anti-immigration politics and practices around the world.
There was a lot that could be read between the lines.