Disclosure
Disclosure
R | 09 December 1994 (USA)
Disclosure Trailers

A computer specialist is sued for sexual harassment by a former lover turned boss who initiated the act forcefully, which threatens both his career and his personal life.

Reviews
WasAnnon

Slow pace in the most part of the movie.

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Pluskylang

Great Film overall

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Keeley Coleman

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

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Kirandeep Yoder

The joyful confection is coated in a sparkly gloss, bright enough to gleam from the darkest, most cynical corners.

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Andrew Gold

Disclosure could have been a great movie. For its time, it probably was. All the ingredients are there - capable actors, an intriguing story, not to mention the erotic greatness provided by Demi Moore. She plays the boss of Michael Douglas' character, and she invites him to her office and proceeds to make sexual advances on him, then accuses him of sexually harassing her. The movie then goes into the mediation of these claims, and these are the best scenes because it really shows how people can instinctively side with the woman in these cases despite evidence pointing to the contrary. Moore's lawyer interrogates Douglas ruthlessly, asking him leading questions and bringing up their sexual history in order to make him look as guilty as possible. And on top of all that, Douglas is a family man so it's also taking a toll on his marriage. All of these elements work.What doesn't work is the cyber-thriller aspect. The computer graphics are HORRIFIC. Even for the '90s it looks bad; these days it looks like a glitchy Atari game. And one of the main plot lines revolves around Douglas receiving messages from an anonymous source on his computer, so a lot of time is spent looking at dated interfaces. The movie's climax goes a step further and throws virtual reality into the mix, and those scenes make the X-Files episode 'First Person Shooter' look like a visual masterpiece. It really takes you out of the movie, despite Ennio Morricone's best efforts on the music front.Disclosure is certainly watchable. It has some witty and clever dialogue, it deals with serious issues in a tasteful manner, and has a wonderful sex scene that will keep your eyes glued on screen even if you detest the rest of the film. Overall, Disclosure is a serviceable thriller, ending the Michael Douglas sex trilogy with a bang. Literally.

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Mr-Fusion

Everybody's out to get Michael Douglas.Marketed as a controversial examination of a man's charge of sexual harassment against a female co-worker, "Disclosure" is really about paranoia. The reverse discrimination angle is a (albeit large) plot point, but it isn't the crux of the movie. Which is where the movie takes a sharp turn off a cliff.Douglas is a software engineer for a large corporation, and he's been turned down for the big promotion - in favor of a man-eating former lover (Demi Moore). Moore, the new V.P. invites Douglas to her office for a catch-up session, and things get downright steamy. But Douglas is a family man, and he walks away from an enraged (rebuffed) Moore. The next day, Douglas walks into the office to the accusation that he was the one doing the harassing. A very large chunk of the movie is devoted to the harassment charge, with Douglas calling in the help of a media-hungry lawyer (Roma Maffia) to help him with his case. Sordid details emerge, cracks appear in the Douglas household, and and it's not a pretty skirmish. But Moore is just a cog in a larger scheme to eventually make Douglas look incompetent and throw him out on the street. That's what this movie is really about: Douglas is worried about his job. It's all a very conspiratorial and manipulative oppression of the poor white family man, complete with hushed voices in the office. Throw in some deliciously early '90s CGI and a ridiculously lame virtual reality subplot, and you've got the market fresh makings of an overly- long film that never rises above goofy.3/10; a real chore

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Spikeopath

Disclosure is directed by Barry Levinson and co-adapted to screenplay by Paul Attanasio and Michael Crichton from Crichton's own novel of the same name. It stars Michael Douglas, Demi Moore, Donald Sutherland, Roma Maffia, Dylan Baker, Caroline Goodall and Rosemary Forsyth. Music is scored by Ennio Morricone.Tom Sanders (Douglas) is an executive at DigiCom, a high-tech computer company, who hopes that now it's finally his time to get promotion. Passed over for an outsider, he's further irked when it turns out to be Meredith Johnson (Moore), an old passionate flame of his from years previously. When Meredith arranges for a meeting between the two later that evening, Tom finds himself sexually harassed by her. Spurning her aggressive overtures, Tom is shocked to learn the next day that she has filed a charge of sexual harassment against him. He naturally counters the charge, but this opens up a can of worms for both him and the future of DigiCom.The 1990s practically belonged to Michael Crichton, it seemed for a time that everything he wrote was adapted to the big screen for some form of entertainment. With Jurassic Park still warm and still garnering bucket loads of cash, two other Crichton adaptations worked their way into theatres; both of which were a world away from the family friendly extravaganza of Jurassic Park. One was Rising Sun, a messy wasted potential of a movie, the other was Disclosure, a zeitgeist snatcher that seized the moment. The topic, and the novelty of flipping the gender aggressor, was always going to make Disclosure of much interest, thus the film and the novel made big money: aided still further by the hot casting of Douglas and Moore, who were still draw cards in the early 90s. Crichton, after being displeased with other adaptations of his work, got big say on the screenplay as a written project. So with director Levinson in tow, he set about pushing the buttons of his audience, attempting to continue the heated debates that were brought about previously from Douglas' Fatal Attraction and Basic Instinct. If it's Crichton's or Levinson's fault that it didn't work out that way? I'm not sure, but fact is, is that Disclosure really wasn't that potent back then, and certainly now it's not even lukewarm.There's too much techno babble going on, and an over keenness to stick the nose up at the big business vultures picking the flesh off of the lesser minions. Entering the last half hour of the film, it's easy to forget there has actually been a sexual harassment case! Here's the crux of the matter, if going in to it for a first time viewing expecting this to be a powder-keg of sexual harassment muckiness and legal intrigue, then you are in for a big disappointment. I know, because I was one of the paying patrons at the theatre back in 94! You sense that one of the makers got a bit carried away…Yet the film still has much going for it if stripped of that expectation, not least that it packs a pile of tension in that last half hour and the finale is rather rewarding. I'd go as far to say I'm a fan of the film, but it's not the film I originally went to see! There's a trio of interesting and differing female characters at the front of the narrative, even if Moore's stair-master vixen isn't exactly developed beyond being a bitch, and the virtual reality sequences have an appealing charm about them. The cast are turning in good ones, with a notable shout out to Caroline Goodall who wisely underplays it as the wife. While the interior set design (Gary Lewis/Joseph Hodges) for the DigiCom HQ is wonderful with its 90s excess of glass meeting mirrors and open spaces. Which leaves us with what?A film that is not what you expect! Which in this case is both disappointing and a surprise. 7/10

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capie4

I a twenty-year-old in the early '80's--and male, AND in the military, I suffered as much as any male in the corporate World regarding the sexism's against the male, the racism against the White, and especially the White-male. It was "open season" on especially White males who were especially disregarded in both being a victim and defense of sexual harassment and racism. This was due to the definition of sexual harassment which, unofficially, was defined as "thinking from behind your zipper---a definition (cleaned up a bit) common to men, for the purpose to "gain power over a person." At that time, changed since thanks to "Sex in the City", women were still seen as sluts and not sexually aggressive. Women, the whole time, were free to practice sexual harassment and discrimination (then called, "get even-ism") which developed as a practice of oversensitivity. The power for which women did (and do) as they practiced sexism was not thinking out of their zipper, but using oversensitivity to the defined sexism (which is sexist in its nature)as a tool to gain power over their environment. In short, women do not practice sexism to gain power over a person, but of an environment (which includes people--male and female). They will use oversensitivity to garner a complaint against a male competitor for a promotion, and the male had no defense as it was open season on him.This movie (book too?) had Demi Moore's character practicing sexism to gain power over a male competitor to gain power over him by actually using sex. This is not consistent with how women sexually harass. The writers had her using her vagina to gain power over a male, (not unbelievable today, thanks again, to the aforementioned Sex in the City) instead of practicing (and exposing to the public) the way a woman harasses and discriminates.Had she gone through the movie accusing every male of impropriety's, she would have been a normal "femi-nazi" sexist-believable and bared to the movie-going public--and exposing women's sexism (which is *still* not today in 2011) to the mainstream and opening doors for women to be included in the sexual harassment policies.As it stands, this movie does what corporations have done since the 1972 equal rights laws have been doing---leaving women out of guilt, and men being the target.This is what this movie fails to recognize.Demi Moore's character is sexually aggressive to gain power over a person--and not there environment.

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