DISCLOSURE DAY – Review by Susan Granger

With the release of his 35th movie, it’s obvious that Steven Spileberg is not just a good story-teller, he’s a GREAT story-teller. The suspenseful tale he spins this time is Disclosure Day about the U.S. government’s attempt to keep the truth about UFOs secret. Scripted by David Koepp from Steven Spielberg’s story, it revolves around a nefarious conspiracy, cloaked in sci-fi mystery, tracing back to E.T. and Close Encounters of a Third Kind. And it’s a timely topic since former President Obama said he believes aliens are real, prompting President Trump to accuse him of revealing “classified information.”

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DISCLOSURE DAY – Review by T.J. Callahan

Full “disclosure”, I didn’t understand exactly what was going on for the first half of the movie. Spielberg was so busy putting all his food for thought on the story board buffet, including an epic train scene that may have been added just to please the action fans, that it was difficult to navigate. Once the backstory was delivered in the second half, the classic Spielberg empathy came through and actually left the audience wanting more.

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DISCLOSURE DAY – Review by Leslie Combemale

This film fits well as a third cinematic statement from the director of Close Encounters and E.T., and offers eye-popping visuals and committed performances enough to make it well worthy of carrying the Steven Spielberg name. Though it’s a bit slow in getting started after an action-heavy first scene, the film has a decidedly 70s espionage on-the-run thriller sensibility. It builds suspense and action. There are very exciting set pieces. Also, even if you’re from Virginia where it’s the state bird, you’ll never look the same way at a cardinal.

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WAKE UP DEAD MAN: A KNIVES OUT MYSTERY – Review by T.J. Callahan

Wake Up Dead Man: A Knives Out Mystery, the third in Rian Johnson’s whodunnit series starring Daniel Craig, is now on Netflix. Famed detective Benoit Blanc travels to upstate New York and takes up residence at Our Lady of Perpetual Fortitude, not for confession, but to help a young priest, played by Josh O’Connor, investigate an impossible crime at this tiny church with a troubled past.

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KNIVES OUT: WAKE UP DEAD MAN – Review by Susan Granger

Sorry to be the bearer of bad news but Rian Johnson’s third Benoit Blanc murder mystery – Knives Out: Wake Up Dead Man – is a dud despite a star-studded cast. Unevenly written and rigidly directed by Rian Johnson, it’s chock full of eccentric yet underdeveloped Gothic archetypes who flit in and out – talking incessantly about morality, philosophy and Christian theology but actually saying very little, particularly when it boils down to whodunnit. The humor that once characterized the Knives Out franchise is missing.

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MOVIE OF THE WEEK October 17, 2025: THE MASTERMIND

Moody and thought-provoking, writer/director Kelly Reichardt’s compelling drama The Mastermind tells the story of a not-quite-heist-ready would-be art thief in Massachusetts in the early 1970s. Featuring a stand-out performance by star Josh O’Connor and impressively authentic production values, this 2025 Cannes Palme D’Or nominee memorably explores ideas related to identity and purpose as its main character struggles to escape the weight of suburban ennui.

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THE MASTERMIND – Review by Loren King

There’s the heist movie and its glorious sub-genre, the swaggering ‘70s heist movie with such diverse titles including Dog Day Afternoon, The Getaway, and even Barbara Loden’s great Wanda. With her distinct style, writer-directorKelly Reichardt delivers her own spin on that genre. It may be the heist — in this case, a horribly executed museum art theft — that catches our attention but it’s the perfect, shambling atmosphere of 1970 New England including the cars, clothes and languorous characters that keeps us enthralled.

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THE MASTERMIND (NYFF 2025) – Review by Margaret Barton-Fumo

Screening as part of the Main Slate of the 63rd New York Film Festival, Kelly Reichardt’s The Mastermind is strong enough to stand as an opening or closing night feature, if only it carried the gravitas of a big-budget, high profile production. But that, of course, would be antithetical to Reichardt’s work, which is characteristically small scale and often unassuming. With that being said, The Mastermind is a significant accomplishment, one deserving of high praise.

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THE MASTERMIND (NYFF 2025) – Review by Diane Carson

The Mastermind is one of those rare films that increases appreciation on a second viewing. The subtle interplay, the strained relationships communicated through sidelong glances, the hesitant delivery of dialogue, and the slapdash unraveling of exalted ideas: all of this rewards viewer alertness to Reichardt’s genius. Through the inclusion of carefully selected details delivered through superb performances, audiences come to feel a kinship with the worlds Reichardt creates.

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