Metascore
58

Mixed or average reviews - based on 19 Critics

Critic score distribution:
  1. Positive: 12 out of 19
  2. Negative: 1 out of 19
  1. Reviewed by: Richard Corliss
    90
    Director Barry Levinson and screenwriter Paul Attanasio are great guys to waste time with. The latter has a real flair for writing strong, confrontational scenes -- brisk, needling, well shaped -- and the former stages them with coolly concentrated intensity. And the cast is terrific. [19 Dec 1994, p.75]
  2. Disclosure is a frankly adult picture. The seduction scene is protracted and genuinely sexy -- though what this woman sees in Douglas is a mystery. The talk in Disclosure is also frank -- and unusually explicit. People talk about sex in this picture as they would in life.
  3. Disclosure is a well-acted, slickly directed shell of a picture. The veneer is so polished that you look on with something approaching genuine satisfaction, and only after the final credits roll do you begin to feel the void.
  4. The movie, like the book, is a work of opportunistic gamesmanship, a luridly farfetched conspiracy thriller masquerading as an inquiry into the zeitgeist. You can't take Disclosure very seriously, yet the film has been made with cleverness and skill, and with a keen eye for the latest styles in corporate paranoia and ruthlessness.
  5. Reviewed by: Ian Nathan
    80
    Genuinely gripping, Demi makes an awesome femme fatale.
  6. Reviewed by: Staff (Not Credited)
    75
    The screenplay is a distinct improvement on Crichton's one-dimensional, humorless potboiler. The movie comes closest to thematic coherence in its depiction of something nearly everyone can relate to: the office from hell.
  7. 75
    Dramatically, Disclosure isn't especially potent, but it isn't drama that Crichton and Levinson are striving for. On its own terms -- the fear of lost security that many thrillers prey upon -- Disclosure works, and that's all that anyone can reasionably ask from this kind of motion picture.
  8. Reviewed by: Staff (Not Credited)
    75
    On the level of pure craft, Disclosure is first-rate in every department. Levinson's directing is cogent and colorful, and cinematography by camera wizard Tony Pierce-Roberts is dazzling. [9 Dec 1994]
  9. Reviewed by: Todd McCarthy
    70
    Disclosure is polite pulp fiction, a reasonable rendition of potentially risible material. This lavishly appointed screen version of Michael Crichton's page-turner about sexual harassment and corporate power has what it takes to deliver plenty of year-end bounty into Warner Bros.' coffers, although it might have been even more commercial had it been more shamelessly trashy.
  10. 70
    The spirit of the film, though, is snazzier and more playful than Crichton’s rather thin, humorless schematic. The subject is serious; thankfully, the movie is not.
  11. Reviewed by: Mike Clark
    63
    Disclosure should slickly satisfy people who like movies about advanced computers, topical themes, hardball attorney mind games, office politics, sex and sweet revenge. [9 Dec 1994, p.1D]
  12. Reviewed by: Jay Carr
    63
    Disclosure is a classic guilty pleasure. You won't be proud of yourself in the morning for having watched it, but you won't be able to take your eyes off it while you do. [9 Dec 1994, p.53]
  13. 50
    Disclosure contains an inspiring terrific shot of Demi Moore's cleavage in a Wonderbra, surrounded by 125 minutes of pure goofiness leading up to, and resulting from, this moment.
  14. 50
    Disclosure is pure and simple trash masquerading as significance. [9 Dec 1994, p.B]
  15. Reviewed by: Desson Howe
    50
    In his zeal to break the book down into bite-size, cutting-edge nuggets, adapter Paul Attanasio has squandered—and arbitrarily altered—many of those details.
  16. In its rush to push hot buttons, Disclosure neglected some essentials of good storytelling.
  17. The idea that sexual harassment is about power, not sex, and that a woman in power can potentially misbehave just like a man may be news to certain segments of the population, but they are not news enough to light a much-needed fire under this production. [9 Dec 1994, p.1]
  18. The storytelling of Disclosure is too forced and polemical to be on a par with better Crichton tales like "Jurassic Park." This time, it's the author who's the dinosaur.
  19. I didn't mind the preposterousness of the premise nearly so much as the general ineptness with which it's presented. After all, good trash has its place. [8 Dec 1994, p.A16]

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