Audiences have propelled Spielberg’s alien thriller to the top of the box office. Yet some exiting the cinema appear to believe this sappy extravaganza is not the director’s finest hour

A sage person once told me every noted director’s career is an ongoing conversation with the audience. Some film-makers – Michael Haneke, say – sit on high, like a headteacher at an assembly, and loftily number the ways in which we’ve let ourselves and the school down. There are others – Lars von Trier and Ari Aster spring to mind – whose work sidles up uncomfortably close, gooses the viewer and then flees the scene sniggering before the relevant authorities can be alerted. The career of Steven Spielberg – arguably the most remarkable career in the history of popular cinema – has long depended on the audience being on the exact same page, looking up wide-eyed and guileless towards the light: his greatest films, from Close Encounters to The Fabelmans, invite further discussion, an awestruck back-and-forth.

You can therefore understand why Spielberg has broached the subject of social division with Disclosure Day, his much-trumpeted return to the summer event movie: he has almost as much skin in this game as the rest of us non-trillionaires. Yet if early box office has been solid enough, secondary indices – not least a slew of disappointed foyer texts from friends and loved ones – would suggest the film has itself proved distinctly polarising. In the US, market research firm CinemaScore – which polls opening-day cinemagoers to assess a film’s commercial prospects – graded Disclosure Day a B, the joint second-worst for a Spielberg film, ahead of AI: Artificial Intelligence (recipient of a harsh C), dead level with Indiana Jones and the Kingdom of the Crystal Skull. Headmaster Haneke again shakes his weary head.

Steven Spielberg’s sci-fi blockbuster is a non-stop thrill ride, but did it convince you that we are not alone?

• This article contains spoilers for Disclosure Day

Six months after a cryptic billboard reading “All Will Be Disclosed” popped up unannounced in Times Square, Steven Spielberg’s Disclosure Day was finally released at global cinemas last week. The film sees the director returning to the sci-fi themes that have fascinated him throughout his career, braiding together multiple character storylines in an adrenaline-fueled – and occasionally dizzying – adventure. Read on for a spoiler-packed breakdown of the film’s themes, layers and Easter eggs, and let us know what you think in the comments.

Humans have been secretly abusing aliens for almost 80 years in this big-hearted thriller starring Josh O’Connor as a worried whistleblower and a never-more-magnetic Emily Blunt as a weather forecaster channelling UFO chat

The old school is the new school in this very enjoyable and entirely ridiculous space-alien conspiracy adventure from screenwriter David Koepp and director Steven Spielberg; it is cheerfully mischievous and deadly serious in equal measure. It has something of Hitchcock from North By Northwest, Christopher Nolan from Inception and Spielberg from pretty much every other movie he’s ever made. Spielberg incidentally appears in the trailer for this film, disclosing that, hand-on-heart, he really believes in its contents, in the way I imagine CS Lewis believed in Aslan and the secret Narnian sovereignty of Peter and Susan.

Only Spielberg could get away with taking two of the world’s best-known hoaxes – Roswell and crop circles – and treating them with judicious deadpan respect. With heartfelt idealism, Spielberg also asks us to believe that should the ultimate truth come out, people everywhere would be terribly upset at the way captured aliens have been vivisected. (I suspect that would be very far down the list of our concerns.)

Event chairs Nicole Kidman, Beyoncé, Venus Williams and Anna Wintour have guests dress to the theme ‘Fashion is art’ at the event controversially funded by new honorary chairs Jeff Bezos and Lauren Sánchez Bezos

The film’s villain is a conniving tech oligarch seeking to buy his way into fashion’s inner circle. Sound familiar?

In The Devil Wears Prada 2, we’re introduced to a very different Miranda Priestly. There was a time where the all-powerful queen of fashion – who is played by Meryl Streep and based on Vogue’s longest-serving editor, Anna Wintour – could end careers with a glance. But this time, she spends most of the movie taking orders herself. First, we see her at the behest of advertisers, then publishing magnate Irv Ravitz and his irritating nepo baby son. And it isn’t long before Benji Barnes, an eccentric billionaire, shows up and threatens to dismantle the excellence she has spent her entire career championing.

In the film, Benji is played – scarily well, I should add – by Justin Theroux. After a high-profile divorce, he has had a “glow-up”, which loosely translates to losing weight and boasting a deep mahogany tan. Post-divorce, he is now in a relationship with Emily – Miranda’s acerbic former assistant, played by the scene-stealing Emily Blunt, who is described as “every girl who ignored him in high school”. Benji’s inclusion in the story feels representative of the wider media landscape, where the whims of billionaires decide which parts of the old, pre-social media world get to survive. And for Emily, she’s learning that being associated with someone so powerful has the potential to help her finally step out of Miranda’s shadow. The romance between these diametric opposites – Type A fashion queen and a nerd who grew up to become one of the world’s richest men – provides a stream of comic relief. But beyond the laughs are a deeper – and bleaker – statement about how people with enough money can buy cultural power.

Meryl Streep and Anne Hathaway shine in frothy sequel that smartly comments on struggling media industry

• This article contains spoilers for The Devil Wears Prada 2

• The Devil Wears Prada 2 review – a sequel? For spring? Groundbreaking

After a promotional blitz that has run the full gamut from haute (Meryl Streep on the cover of Vogue with Anna Wintour) to not (a heinous line of Target sweats), The Devil Wears Prada 2 is finally here, and set for very chic box office takings of over $200m in its first week.

Praised as one of the few Hollywood sequels to measure up to its beloved original, the movie sees Streep reunite with Anne Hathaway, Emily Blunt and Stanley Tucci two decades after the original movie’s release in a flurry of designer rags, withering put-downs and a slew of celebrity cameos. Surprisingly enough, it mostly works. At my screening on opening weekend, fans crowded to take pictures with promotional cardboard cut-outs and clinked cocktails as the lights went down. Read on for a spoiler-packed breakdown of the film, and let us know your thoughts in the comments.

From celebrity cameos to lucrative brand partnerships, The Devil Wears Prada 2’s approach to maximising revenue is worthy of Runway’s finest

For a film that serves as a commentary on the perilous economics of today’s media landscape, it’s fitting that promotion for The Devil Wears Prada 2 has been so frank about its finances.

Speaking ahead of the New York premiere, Meryl Streep revealed she initially turned down the role of withering fashion magazine editor Miranda Priestly in the 2006 original in a bid to extract more money from its producers.

The fashion and magazine industries have had a makeover but this glossy knock-off reunites the old team – and recycles the old plot – with style

Twenty years have gone by; the fashion and publishing worlds have changed but Satan’s clothing and accessory choices are pretty much what they were. It’s time for a sprightly and amiable sequel to the adored mid-00s Manhattan romcom that followed the adventures of would-be serious writer and saucer-eyed ingenue Andrea “Andy” Sachs, played by Anne Hathaway. Straight out of college in one of the flyover states, she fluked a job at iconic New York fashion magazine Runway, edited by the terrifying and amusingly surnamed Miranda Priestly, played of course by Meryl Streep. Miranda doesn’t look a day older in the sequel, and nor does Nigel, played by Stanley Tucci, still in post as her loyal, worldly, privately melancholy second-in-command.

So Andy has come back, having been laid off by some Jeff Bezos-type meanie from the upmarket broadsheet where she’d been winning awards for super-serious but boring articles. She can’t afford to turn down a mephistophelean offer to be features editor for Runway, where she finds things are very different. The magazine now has nothing like the colossal budgets of old; embarrassingly, it has to distance itself from the sweatshop economy, and is ground down by chasing clicks and eyeballs in a fickle digital world ruled by a teen customer base with no class and no taste. Miranda has to pay pursed lip-service to body positivity and rejecting heteronormativity in the workplace, and gets schooled in correct language by her new assistant Amari (Simone Ashley). She even has to fly coach.

Film sequel reveals how luxury brands have turned the tables on once-dominant magazine editors

The National Gallery was the grand setting for the party that followed The Devil Wears Prada 2’s London premiere this week. Donatella Versace held court in a roped-off area beneath Paul Delaroche’s The Execution of Lady Jane Grey.

Meryl Streep, reprising her role as Miranda Priestly – Anna Wintour’s fictional alter ego – wore a red satin Prada coat as a nod to the film’s title and black sunglasses as a wink to Wintour. Glossy magazine editors from Spain, Germany and the Netherlands, flown in for the night, nibbled on fried chicken served with caviar and dishes of mac and cheese presented theatrically under silver cloches.

This year’s set of $8m TV spots gave us new looks at alien conspiracy thriller Disclosure Day, slasher sequel Scream 7 and an unlikely new David Fincher film

• Bad Bunny’s Super Bowl half-time show review – a thrilling ode to Boricua joy

With Super Bowl spots now up to a reported $8-10m, the market has grown a little less welcoming to Hollywood, an industry still not quite up to pre-pandemic numbers (the global box office for 2025 was down almost $10bn on 2019).

So while last night saw us assaulted with ads for beer and, depressingly, AI, there was a continued decrease in the number of major film ads, a harder spend to justify in this weakened climate. But the biggest of guns still came out, from Spielberg to Ghostface to the Minions …

It was a great year for Sinners and One Battle After Another but films with megastars like George Clooney, Julia Roberts and The Rock all struggled

Last year’s Oscars narrative might have been more about the little films that could, from The Brutalist to Anora to Emilia Pérez, but this year has become closer to the opposite with big-budget films like Sinners, One Battle After Another and Frankenstein all leading the way.

It’s therefore not quite as easy to explain why some of Hollywood’s biggest stars, from Julia Roberts to Dwayne Johnson to George Clooney to Emily Blunt to Adam Sandler, found themselves removed from the race. So here goes …

Promo for the much-anticipated sequel, in which Streep is reunited with Stanley Tucci, Anne Hathaway and Emily Blunt, clocks up 2.5m views in eight hours

The first full-length trailer for The Devil Wears Prada 2 has been released, and given more details on David Frankel’s hotly anticipated follow-up. In the promo, Meryl Streep’s Miranda Priestly and her right-hand man Nigel, played by Stanley Tucci, are seen reuniting with Anne Hathaway’s Andy and, later, Emily Blunt’s Emily.

Priestly remembers neither, nor even her habit of referring to all her fashion magazine assistants as Emily – presumably on account of her withering alpha-editor status rather than, say, dementia.

Emily Blunt, Josh O’Connor, Colin Firth, Colman Domingo and Eve Hewson head up the director’s latest effort

The first trailer for Steven Spielberg’s mysterious UFO movie has now provided further details on what audiences can expect.

Disclosure Day, written by Jurassic Park’s David Koepp and based on a Spielberg story, sees a starry cast deal with the discovery of aliens. “Why would he make such a vast universe yet save it only for us?’” Elizabeth Marvel’s character says at the end of the teaser.