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90Director 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]
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88Disclosure 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.
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88Disclosure 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.
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83The 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.
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80Genuinely gripping, Demi makes an awesome femme fatale.
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75The 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.
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75Dramatically, 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.
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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]
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70Disclosure 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.
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70The 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.
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63Disclosure 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]
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63Disclosure 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]
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50Disclosure 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.
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50Disclosure is pure and simple trash masquerading as significance. [9 Dec 1994, p.B]
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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.
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40In its rush to push hot buttons, Disclosure neglected some essentials of good storytelling.
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40The 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]
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40The 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.
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30I 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]