A critical ranking and analysis of Steven Spielberg's three films from the current decade: Disclosure Day, West Side Story, and The Fabelmans, examining their artistic merits, performances, and place in his distinguished career.
Steven Spielberg , one of the most influential figures in science fiction and blockbuster cinema, returns with his latest film Disclosure Day , set to release this week.
The movie stars Emily Blunt, Josh O'Connor, and Colman Domingo in a nostalgia-driven adventure centered on a mysterious organization's concealment of human contact with extraterrestrials. The screenplay was written by David Koepp, known for Jurassic Park, based on an original story by Spielberg himself. Early critical reception has been mostly positive, though questions remain about whether the film can achieve the remarkable box office success of Spielberg's earlier works.
The post-pandemic era of Spielberg's career has already begun to feel like a distinct chapter. Films like West Side Story and The Fabelmans received significant critical acclaim, with many praising them as a return to form for the director.
However, both were also notable commercial disappointments. This ranking evaluates Spielberg's three films from this decade so far, from the least successful to the best. 3. Disclosure Day (2026) In today's often dark and pessimistic world, and in a cinema landscape where low-budget indie horrors are outperforming major franchises like Star Wars, Disclosure Day feels remarkably quaint and perhaps even dated with its earnest throwback style.
While the film captures much of the spirit of Spielberg's classic sci-fi works such as E.T. the Extra-Terrestrial, Close Encounters of the Third Kind, and Minority Report, it lacks the innovation, sharpness, and lasting impact that made those movies enduring touchstones. The standout element is Emily Blunt's sensational performance as a local news anchor who gains psychic abilities and other enhancements; she is undeniably captivating.
The rest of the characters, however, do not reach the depth of those in Spielberg's most beloved films. Action is limited, though the two chase sequences are executed excellently. Cinematographer Janusz Kamiński worked on all three films discussed here, and his work on Disclosure Day occasionally draws unnecessary attention to itself. Though handsomely crafted and refreshing in its optimism, the film is not the instant classic some devoted fans might have hoped for. 2.
West Side Story (2021) This remake of the iconic 1961 musical was not a project audiences clamored for, yet it surpassed expectations. Spielberg's version stands as an equal to Robert Wise's classic, with both films possessing minor flaws but delivering mostly exhilarating experiences. As in the original, the central romantic characters are less compelling than supporting figures like Anita (Oscar-winning Ariana DeBose) and Bruno (David Alvarez).
The musical numbers are breathtaking, from the showstopping "America" to the rousing "Tonight (Quintet)," one of the most electrifying Broadway numbers ever composed. The most brilliant reinterpretation is "Cool," transformed into a heartbreaking ballet about a doomed friendship. A puzzling decision in the third act reassigns the crucial ballad "Somewhere" from the young lovers to a newly created character, giving it to Rita Moreno.
While Moreno's presence is welcome, her vocal delivery struggles with the demanding piece, slightly halting the film's momentum and diminishing its romantic power. Nevertheless, West Side Story remains one of the finest musicals of the 21st century and a clear triumph for Spielberg. 1. The Fabelmans (2022) Even with Spielberg's mastery, a semi-autobiographical film like The Fabelmans risked feeling like a vanity project or therapy session.
Instead, it emerges as god-tier cinema, largely due to the script co-written with Tony Kushner, which movingly crafts a sprawling family drama relatable to anyone who has experienced the joys and sorrows of domestic life. Michelle Williams rightfully dominated awards chatter for her performance, which could have easily become shrill but instead remains nuanced. Newcomer Gabriel LaBelle is equally impressive as Sammy Fabelman, delivering razor-sharp precision without feeling like an imitation.
Above all, The Fabelmans is a love story-a man's love for cinema. It earns a place among the greatest films about filmmaking, alongside classics like 8½, Singin' in the Rain, and Ed Wood. Though only a few years have passed, the film feels destined to be regarded kindly by history
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