What if we were not alone in the universe? What if it was proven, beyond a shadow of a doubt, that not only were we not alone, but that extraterrestrials had, in fact, made contact?

Those questions and others like them are nothing new, and have been tackled before in works such as the 90’s cult classic television show, "X-Files," or the film "Contact." "Disclosure Day" asks much the same questions, except in a more contemporary setting.

The story follows Daniel, played by "Wake Up Dead Man’s" Josh O’Connor, a gifted math genius turned whistleblower, in possession of world-changing information. He is on the run from Noah Scanolon, his former employer, played by Colin Firth.

Meanwhile, Emily Blunt is Margaret Fairchild, a weather forecaster for a local weather station who suddenly begins speaking in tongues. What they have in common, and what do they have to do with their mysterious guide and benefactor, Hugo Wakefield, played by Coleman Domingo, is the center of the story.

This latest film of director Steven Spielberg didn't get as much hype and fanfare as one might expect. In my case at least, it wasn't flooding my feed like, say, "Masters of the Universe." I wasn't hearing much chatter about it, and it certainly didn’t have anything controversial surrounding it like the upcoming film, "The Odyssey."  It was almost intentionally kept hush-hush or need to know, much like the secrets that the movie itself revolves around.

But the Spielberg name attached to a film is hype enough to make most people take notice. The Father of the Summer Blockbuster has deep ties with science-fiction, and this, along with "E.T." and "Close Encounters," closes out the "Jurassic Park" director’s unofficial Alien Trilogy.

In fact, you can’t watch "Disclosure Day" and not have little moments of "E.T." and "Close Encounters" pop into your head. And that may be as much a strength as it is a weakness. While interesting, you can’t help but feel at the back of your head that this has all been done before, even by Spielberg himself with "Close Encounters."

It takes a while but eventually you get into the decidedly Spielberg moments, those shots of wonder with the lens flares, deep focus, and characters wine-eyed like little children. It is then you see precisely why Spielberg and cinematographer Januzs Kaminski make such a formidable team. The sense of awe is infectious, and John William’s score, while not as immediately iconic as, say, his work on "Raiders" or "Jurassic Park," is still nonetheless emotional and uplifting.

There is some talk of God, and faith, and what would happen if some grand contradicting truth ever came out, but the message of the movie is really one-sided. That is, that the truth, no matter what, trumps all. The truth, the full truth however, also requires faith, as the movie never really goes into it, just that it’s there and has been for so long.

Spielberg, as both writer and director, reveals himself to be the hopeless optimist. Not only, as he has said in interviews, that he is more and more convinced that we’re not alone in the cosmos, but that he believes that given that kind of mind-blowing news, mankind is, as a whole, will be able to handle it.

In some ways, Spielberg has come full circle. Its themes may not be new, but they are well handled and skillfully executed.

The secrets are out now in theaters.