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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BREAKDOWN: 1975 – Review by Lynn Venhaus

In this Wayback Machine, called Breakdown: 1975, we travel back 50 years to a pivotal year that defined daring, imaginative filmmaking, and how coincidentally, it happened between the resignation of President Nixon and the Bicentennial birthday celebration. In Morgan Neville’s well-intentioned documentary, he puts the chaotic 1970s in perspective, touching on how young talented filmmakers like Martin Scorsese, Robert Altman and Steven Spielberg were inspiring a cinematic revolution. Studios took risks, and moviegoers responded in this heralded New Hollywood. As exuberant as this fertile time was, in real life, America was going through dismal days post-Watergate and Vietnam.

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MASTERS OF THE AIR – Review by Susan Granger

From Steven Spielberg and Tom Hanks, the same production team that gave us Band of Brothers (2001) and The Pacific (2010), comes a new, nine-part series Masters of the Air about the heroic W.W.II pilots who set the stage for D-Day. The 8th Air Force, 100th Bomber Group – known as the “Bloody Hundredth” because of their high casualty rate – was stationed at England’s Thorpe Abbotts Base. In less than six months in 1943, 34 out of 36 crews were shot down. Their high casualty count was attributed to their orders to fly daylight missions over Nazi-occupied territory, while the British stealthily dropped their bombs at night.

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MAESTRO – Review by Diane Carson

In Bradley Cooper’s Maestro, composer and conductor Leonard Bernstein comes most vividly and euphorically to life when he’s conducting. The same may well apply co-writer/director Cooper who so comprehensively embodies Bernstein that he all but jumps off the screen during performances. It is thrilling to experience Cooper channeling such rapture throughout his and wife Felicia Montealegre’s tangled theatrical lives.

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MAESTRO – Review by T. J. Callahan

There is creative directing and editing, phenomenal makeup, a soaring score and flawless acting from the entire cast, but Bradley Cooper as famed maestro Leonard Bernstein and Cary Mulligan as his supportive yet suffering actress wife Felicia Montealegre Cohn, are pitch perfect. Cooper gave his all to the roles he played in front and behind the camera being personally given the director’s wand from co-producer Steven Spielberg and spending six years learning to use the conductor’s baton in order to film a six minute London Symphony scene live.

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THE FABELMANS – Review by Valerie Kalfrin

The creative life is a circus for an artist, with allures impossible to resist. Director Steven Spielberg’s semiautobiographical drama The Fabelmans shows his early fascination with movies; yet instead of making himself the focus—a portrait of the blockbuster pioneer as a young Steven, if you will—he crafts an intimate story that credits his parents as his inspiration.

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THE FABELMANS – Review by Diane Carson

The Fabelmans presents director Steven Spielberg’s family story. Spielberg, who needs no introduction, has co-written, produced, and directed his most personal movie to date, the autobiographical The Fabelmans. Beginning January 10, 1952, in New Jersey, progressing through 1964 high school graduation, and concluding a year thereafter, the story profiles this family, anchored in Sammy, i.e., Steven. Beginning with his first film, Sammy is captivated.

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