Disclosure Day (John Williams)
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Thor will be pleased to know that we’ve turned this thread into an FSM postal charges/where’s my order thread 😨😄
Full disclosure 😉 And Thor even has a specific thread for that: https://celluloidtunes.no/forums/topic/the-four-threats-and-tariffs/
Just came back from it.
First of all, let’s all lower our expectations, shall we? Given the whole hooplah and secrecy and sneaky marketing surrounding this, you’d think it was another masterpiece on the table. It’s not. It is – however – a pulpy B movie heightened by a master director.
For those of you who don’t like Spielberg, you’ll probably enjoy the first part with all the sleuthing and operations and putting the “Macguffin” pieces together. But you will probably dislike the last part, which is Spielberg being Spielberg – very melodramatic (critics will claim it borders on sentimentality).
But as a fan, I gobble it all up. One of the most striking visual elements was the use of mirrors, windows and screens – suitable for a story that in many ways is “Alice Through the Looking Glass”. That it’s a film about empathy, and that this fits with our current geo-political climate, is fine enough. But my takeway was a very musical, smooth paranoia escape thriller, with plenty of playful Spielberg/Kaminski touches (incidentally, good ol’ Michael Kahn is credited as producer, not editor this time).
But let’s get rid of that “best Spielberg film since the 90s” hypberbole I’ve seen online. That’s not true. It is simply a good quality yarn.
The music? It’s good. As others have pointed out, the first half, two thirds are sparsely spotted. Williams taps into agitated strings, growling brass, even some synths. This is very much in line with stuff like A.I., MINORITY REPORT, WAR OF THE WORLDS, MUNICH. I dig the rhythmical bits for what they are, for chase scenes and conspiracies, but the only memorable theme of note is the “connection theme”, as I call it (the bit from the opening of “listen…” that sounds like “Cinque’s Theme” from AMISTAD, but hey – AMISTAD kinda showed up in THE PATRIOT too, so it’s a score with tentacles!).
Of course, as has also been reported, Williams gets to work out more in the last 30-45 minutes. A very interesting bit is a haunting, undulating bit (with some synths again, even cautious choir) that reminds me of “Monica’s Theme” and the retrieval of memories from David towards the end of A.I. Which is also kinda fitting, given what the scene accompanies. I call it the “memory theme”.
But again, these thematic bits stand out from the more suggestive suspense cues – until it all soars out over the end credits, with a proper extension of the “connection theme” and other bits.
Is it his best since 2005? Not sure. Need to hear the album first. But the best bits are certainly on par with the best bits from WAR HORSE or THE FABELMANS, which I consider his best since that “glory” period.
Hmmm….that was basically a whole review, wasn’t it? But I’ll organize this into a proper review and publish in about two weeks, when most of the “buzz” has subsided. Not ideal, but I don’t have the time before.
Thank you, Thor for that spoiler free insight! I am sure that helps me to set expectations right.
Really looking forward to this. Mainly for experiencing another Williams score in context.Thanks for the pre-preview rewiew 😉 I somehow expected something like that with all the hype. I guess we all have to see and hear ourselves.
But let’s get rid of that “best Spielberg film since the 90s” hypberbole I’ve seen online. That’s not true. It is simply a good quality yarn.
Whoa, best since the 90s? I haven’t even heard that kind of hyperbole. Spielberg did some great work post 90s, like MINORITY REPORT, CATCH ME IF YOU CAN, WAR OF TH WORLDS.. and more… so why should DISCLOSURE DAY be better than any of these?
I didn’t like READY PLAYER ONE, I found that to be Spielberg’s weakest film by far, but other than that, I like the movies he did this century. So I suppose I’ll enjoy DISCLOSURE DAY too… I hope so in any case. Music very much in line with stuff like A.I., MINORITY REPORT, WAR OF THE WORLDS, MUNICH? Well, good then, that’s right up my Williams Alley. 🙂Whoa, best since the 90s? I haven’t even heard that kind of hyperbole.
Yes, someone linked to some reviews where that statement appeared a few times. Totally ridiculous, Spielberg has made some of his best films in the new century.
I thought this film was like a mash up of RP1, Crystal Skull and those Now You See Me, Now You Don’t movies.
Very silly, enjoyable at times, but daft as a brush as well.
The bad guys are comical. Weak story and plotting don’t help matters.
It’s overlong too.
Loved the music though. Typical John Williams, and all the better for that. The film is nowhere near as good as WotW or Minority for me.Unfortunately, my misophonia has gotten worse in the last year or so, and the mastering on this album is doing it no favors (dry, close-miced strings drive me nuts. High, low, it doesn’t matter). I have to take it slow, but I like what I’m hearing. It will never go down as an all-timer, and I can hear a few instances of him just sort of…wearing out in a cue. I probably won’t spend my limited money on this one, but it’s a minor miracle it exists at all, and I’m thankful.
Oh, misophonia sounds really unfortunate to have as a music fan just like having tinnitus like Thor… Dry miked strings can be tough for sure – some Goldsmiths come to mind especially.
Oh, misophonia sounds really unfortunate to have as a music fan just like having tinnitus like Thor… Dry miked strings can be tough for sure – some Goldsmiths come to mind especially.
It’s always bugged me, but as I’ve gotten older, and as almost all my listening is through headphones these days, it’s become almost untenable. I’m pretty much limited to soundtracks from the late 80s-early 2000s, and Telarc and a couple of other small labels for classical.
I can’t even listen to my beloved OT soundtracks. It feels like chewing on styrofoam. The sound of strings on pre-Dolby analogue is painful, but even that doesn’t help close-miking. And every recording since 2005 has been, like, inside the cellos, and I want to crawl out of my skin when I hear them. The double basses make me want to start a war or something, and the various reeds aren’t much better. It’s the wood and the vibrating and the friction, and it only gets worse with exposure. If I go a long time without listening to it, I can stand it for a bit, but after a few hours, just…nope.
Disclosure Day may be the worst-sounding Williams score I’ve heard since the 70s.
I think I can related a tiny little bit as I had often have issues with string chamber music especially quartet or similar very small ensembles because of the sound, too. I gladly come to learn to like it like dissonances (but I guess would always pick orchestra over chamber if you let me).
Ok… today’s the day… not sure I get to listen to it with all these World Cup Games… but apparently my current options are:
Disclosure Day on CD 16bit/44.1kHz (seems to get a wider release in September, all for around 20€, JPC has it for 24.99€ (very reliable store), iMusic for 20.49, though I never ordered there, Black Screen Records for 19.99€ etc… but it’s until September)
Disclosure Day as 96bit/96kHz file (Qobuz has it for 10.49€)
Disclosure Day as LP (various retailer, certainly the coolest cover, but it’s around 45€)Heck, I’d even buy the LP if they included a link for the high-res download. That’s what the Berlin Philharmonic do on their side, when you buy a box set there, you usually also get a link for the high-res digital download.
As it is, as I thought I’ll take the Qobuz route. It’s fastest, and it’s cheapest, and the quality can’t be topped.
JPC has it for 24.99€ (very reliable store)
Indeed, my to go store for everything “normal” (to avoid Amazon). 24,99 is even rather “cheap”. They often even have rare import stuff from our speciality labels but generally heavily overpriced.
Disclosure Day as 96bit/96kHz file (Qobuz has it for 10.49€)
For people without subscription it is 12.59€ for the CD quality download and 15.74€ for the hires one (which I never buy lacking ears annd equipement to hear it).
The best option for me seems again 7digital with 9,19€ for the CD quality download (only 7.59€ if 320 mp3 is enough). Often they als have hires but not for this or not yet.
I never, ever buy any lossy music, never have, never will. I don’t even have lossy files in my collection, or so few, it’s not really relevant. There are a very few lossy albums in my collection that I have that are not available in any other format to me, but they make up 0,019% of my entire collection, everything else is at least CD quality (by far most) or higher. (I just calculated it, I’m a statistics guy. 🙂 )
I usually do the following:
If the digital download is 16bit/44.1kHz and there is a CD, I buy the CD, unless the CD is way more expensive.
If the digital download is 24bit/48kHz or higher, I decide on availability and price. I tend to buy the download if the download costs significantly less.But I do have a Qobuz subscription, so indeed, you get discounts on lots of albums then.
Anyway, Disclosure Day is already downloaded an added to my collection. Now I just need to find some time to listen to it.
If the digital download is 16bit/44.1kHz and there is a CD, I buy the CD, unless the CD is way more expensive.
That is my way in general as well. In this case the download is more or less a third of the CD price so the route is clear.
I have some lossy albums before I jump to the lossless train. But as mentioned before I cannot really hear the difference (anymore, maybe 30 years ago I could…) if it is at least 256/320 mp3 or AAC. And as you I would take that if that’s all available or if lossy is way too expensive.
(Some Varese downloads are really nearly CD price. Interestingly their bandcamp page is cheaper. But you have to pay atention, for example Goldsmith’s AIR FORCE ONE Deluxe release is on there but they forgot half of the tracks. Which is a mistake as other deluxe edtions are complete)
Great store with sturdy packaging and good customer service.
Thanks for the tipp, didn’t know iMusic at all. I see they even offer free shipping from 50€ on in Germany (JPC has at 20€ unless free shipping weekend oncen a month or so.)
But we got side tracked again. I have not bought the score yet but likely will soon.
Couldn’t wait and had to make room for this… I admit it’s wonderful to get a brand new John Williams Steven Spielberg score in 2026.
Love the bass in this cue.
Well, beautiful score, album well put together. Great listen from beginning to end.
For once, it works here to start with what is allegedly the “end title” as introductory piece.Just came home from the movie. And it’s… Not really good. I really wanted to like it.
WARNING!!! This comment isn’t spoiler free.I am not sure if it is a big spoiler if I say that in the end there is a disclosure. And that reminded me in its clunky staging very much of the ending of Shyamalan’s GLASS.
Anyway. I enjoy the score.
On first listening, the thing that jumped out at me straightaway was that JW cites (or constantly hints at) the theme from A.I. — so now I’m wondering what that says about the film (which I haven’t seen).
At least, I think it’s the A.I. theme, if memory serves, but my memory is never quite what it used to be(!) It’s not from Close Encounters or E.T. anyway, which I could have expected given the press comments.
Please try to avoid spoilers about the ending itself as it is not clear when or if I will watch this in time 🙂
The main theme it cites is Cinque’s Theme from Amistad. But there are strong influences from his A.I score as well. There’s one cue that bleeds into similar stuff straight out of A.I.
The main theme it cites is Cinque’s Theme from Amistad.
Aha, that’s a score I don’t have, so I wouldn’t recognize it. Maybe he’s dropping clues all over for the observant. The thinly veiled A.I. theme jumped out at me straight away. It isn’t note for note, but “encoded” 🙂
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