Steven Spielberg, 79, is back with “Disclosure Day,” a new alien thriller in theaters June 12—set amid an 80-year U.S. government cover-up of alien existence. The director’s remarks about young Drew Barrymore’s belief in E.T. add to the buzz as fans sort throu
When “Disclosure Day” hits theaters on June 12, it will mark another turn for Steven Spielberg into alien-fueled sci-fi—this time with a whistleblower and a government cover-up that’s been running for 80 years.
Spielberg, 79, has previously delivered everything from blockbuster dinosaurs to Academy Award-winning historical dramas. His latest thriller puts him back in the center of that universe of wonder and fear. The plot follows a TV meteorologist. Emily Blunt. and a whistleblower. Josh O’Connor. as they get caught up in the government’s long-hidden story about alien existence. The film’s chase scenes and extraterrestrial weirdness are set up to culminate in what the ranking describes as one of Spielberg’s most gripping climaxes ever.
The release date matters because Spielberg’s filmography spans decades of cinematic moments that shaped how audiences process big-screen speculation—especially about what might be out there beyond Earth. In the discussion surrounding “Disclosure Day,” Spielberg also shared that a young Drew Barrymore believed E.T. was real, tying the new alien story to a legacy of awe Spielberg helped mainstream.
The ranking itself stretches across Spielberg’s feature films. from the top-tier classics to the entries that the list’s author argues didn’t quite land. At the pinnacle is “Raiders of the Lost Ark” (1981). praised as the perfect action adventure—full of Nazi-punching. religious implications. and the kind of hero-making momentum that made Indiana Jones a durable cinematic icon. It’s followed by “Schindler’s List” (1993) at No. 2. described as a black-and-white dramatic masterwork focused on the Holocaust and anchored by German businessman Oskar Schindler (Liam Neeson). whose arc is portrayed as a descent from hiring Jewish workers for economic reasons to giving away a fortune to save hundreds from certain doom.
From there, the list moves through some of Spielberg’s most widely remembered work: “Jaws” (1975) at No. 3, “Indiana Jones and the Last Crusade” (1989) at No. 4, and “The Color Purple” (1985) at No. 5. The entry for “Jurassic Park” (1993) lands at No. 6. framed as a spectacle with fearsome antagonists and as a film that takes corporate greed and human “god complex” head-on through the idea of genetically cloned reptiles.
Higher in the rankings, the list singles out the emotional and technical reach of Spielberg’s genre work. “Close Encounters of the Third Kind” (1977) sits at No. 7, described as a more grown-up complement to “E.T. the Extra-Terrestrial” (1982) at No. 8, while “Saving Private Ryan” (1998) holds No. 9 for its graphic Normandy invasion depiction and the Omaha Beach opening centered on an Army Ranger captain portrayed by Tom Hanks.
Alien fascination doesn’t stop at the sci-fi entries. “Minority Report” (2002) appears at No. 18 as a futuristic neo-noir story starring Tom Cruise about law enforcement capturing people before they commit crimes, and “A.I. Artificial Intelligence” (2001) ranks at No. 29, noting that Stanley Kubrick had originally been slated to direct.
As the list goes lower. it still tracks Spielberg’s ability to mix spectacle with story—even when the author says certain films misfire. “Duel” (1971) is placed at No. 24, with the film debut’s rampaging truck antagonist and palpable road rage. “War of the Worlds” (2005) is ranked at No. 33 alongside a comment that results are mediocre, and “The Terminal” (2004) lands at No. 31 with praise that Tom Hanks is “by far the best thing” about the plot of an Eastern European man stuck in New York’s JFK airport after a civil war makes his passport null and void.
At the low end, the list points to what it frames as weaker follow-ups or uneven additions. “Indiana Jones and the Temple of Doom” (1984) is ranked No. 34, “The Lost World: Jurassic Park” (1997) sits at No. 35, and “Indiana Jones and the Kingdom of the Crystal Skull” (2008) is No. 32.
The full ranking also includes titles across Spielberg’s career arc and the eras that built his reputation: “The Fabelmans” (2022) at No. 16; “1941” (1979) at No. 15; “Empire of the Sun” (1987) at No. 14; “Lincoln” (2012) at No. 13; “The Post” (2017) at No. 12; “Bridge of Spies” (2015) at No. 17; and “Munich” (2005) at No. 22. The list places “The Terminal” above a set of Spielberg projects it describes as more mixed. while still acknowledging specific strengths—performances. storytelling choices. and signature set-piece ambition.
If the ranking reads like a tour through Spielberg’s changing preoccupations—from war and morality to wonder and satire—it also reinforces why “Disclosure Day” arrives with extra attention. A new alien thriller isn’t just another sequel to a genre Spielberg helped define. It’s arriving as the latest bet on the same audience instincts that Spielberg’s filmography has repeatedly fed: the pull of the unknown. and the tension between what people believe and what institutions hide.
For now, the lineup is set. “Disclosure Day” is scheduled to open in theaters on June 12. pairing Emily Blunt and Josh O’Connor with Spielberg’s long-running fascination with extraterrestrial mystery—at a time when fans are re-sorting the director’s entire catalog from “Raiders of the Lost Ark” at No. 1 down to “The Lost World: Jurassic Park” at No. 35.
Steven Spielberg Disclosure Day Drew Barrymore alien thriller Tom Hanks movie rankings E.T. the Extra-Terrestrial Jurassic Park Schindler's List Jaws U.S. government cover-up