Steven Spielberg is back in the science fiction genre with the release of “D-Day”, a film that explores the global panic triggered by the discovery of extraterrestrial secrets. The film’s plot follows an employee who ventures to steal secret technology, and its premiere has generated intense debate among critics. Although the technical mastery of the work is widely praised, the narrative structure has become the main point of controversy, with opinions divided between those who appreciate the execution and those who disapprove of a premise seen as outdated.
For the vehicle The Critical Drinker, Spielberg’s latest work is a “yawn festival”, characterized by a generic and predictable plot that evokes 90s clichés without achieving a relevant impact. The critic expresses dissatisfaction with the absence of surprising elements in the plot and classifies the antagonist, played by Colin Firth, as a figure without depth, devoid of motivations that really challenge the main characters.
Still in The Critical Drinker’s assessment, the feature film suggests a possible departure from Spielberg in relation to the expectations of current audiences. By trying to revive past aesthetics without an adequate emotional or intellectual update, the filmmaker fails to captivate the audience, resulting in a two and a half hour experience that is seen by the author as indicative of the renowned director’s creative decline.
Otávio Ugá, from Canal Super Oito, offers a more considered analysis, recognizing that David Koepp’s script has weaknesses, such as the use of excessively convenient technologies and the occurrence of anachronisms when disregarding the digital era. However, he argues that Spielberg’s direction manages to elevate the material, transforming a text that could be average into an engaging cinematic experience for the viewer.
Ugá highlights that Spielberg’s technical mastery in composing his scenes, the iconic soundtrack by John Williams and the impactful performances by Emily Blunt and Josh O’Connor contribute to the film being a “beautiful victory”. Despite not being considered a masterpiece, the critic argues that the production moves away from mediocrity thanks to the director’s singular ability to infuse magic into the narrative.
Waldemar Dalenogare, from the Dalenogare Críticas channel, highlights a contemporary aspect in the plot when addressing the outsourcing of confidential documents by private companies, an element that distinguishes this work from the director’s previous projects. He also praises Josh O’Connor’s performance, classifying him as one of the most promising talents in cinema today.
Dalenogare admits that, although the script is based on an outdated television medium and seems disconnected from contemporary reality, the experience of watching the film in cinemas maintains its validity. For the critic, John Williams’ musical composition plays a fundamental role in dictating the rhythm of the story, consolidating the film as a good work, despite its aesthetic choices that refer to analogue times.