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I have not read the Crichton novel, so I cannot compare the two. It's too seldom you see a thriller that really *works* without the threat being that of the protagonist(s) being physically harmed by someone chasing and/or attacking them. After his new female boss throws herself(quite literally) at him, Tom Sanders is in trouble. Who's going to believe him? The allegation sounds absurd, it seems. This is a believable scenario, and it remains that way through most of the film. The plot is interesting, and the twists and turns are unexpected. This has a marvelous pace, and it's never boring. It's exciting from start to finish. The leads have great chemistry, and all parts are well-cast. Every acting performance is riveting. Douglas, Moore and Sutherland are of course magnificent, and Miller is spot-on in a role that you can tell, as the Trivia confirms, was written to fit him. Cinematography and editing are good. The special effects do look a tad dated, and I'm not sure the film absolutely needed that portion, but they do the job fine. Computers and such in this are not completely credible, it is Hollywood after all. This touches upon important subjects, and treats them with respect. Barry Levinson does an impeccable job directing. There is no nudity, one sequence of strong sex, and a moderate amount of unrestrained language in this. I recommend this to any fan of those involved in making it and/or the book(possibly). 7/10

A tale of sexual harassment in the office with a twist – this time, the guy is the victim and the woman the pursuer. Yes, it's another thriller that builds on Michael Douglas's typecasting as a victim of powerful women (following FATAL ATTRACTION and BASIC INSTINCT) but this one plays all the right cards. Part workplace drama, part courtroom thriller, and all the time invested with now-dated-but-then-cutting-edge technology (email, virtual reality) I found Disclosure to be never less than intriguing and well made. The Crichton source material helps, of course; I haven't yet seen a Crichton film that hasn't been thought-provoking and entertaining (even the worst, CONGO, isn't entirely without merit, although the book is loads better).

I've been seeing a lot of Douglas in recent months and my opinion of him has steadily improved to the degree that I can't remember him giving a bad performance. He's fine here, providing a key likable anchor for the film to revolve around, and playing opposite him Demi Moore is also a surprise: she oozes sexuality and selfishness in equal measure, proving a powerful enemy at all times. Moore isn't the world's greatest actress but this might well be her best performance in a film.

The courtroom scenes, tense and full of electricity, are undoubtedly the film's highlights and there are supporting actors to relish (Donald Sutherland, Allan Rich and in particular a slimy Dylan Baker). It's not a perfect film, but it is a reminder of the kind of solid, sensual thriller that got made during a sometimes forgotten decade of filmmaking.

"Disclosure" deserves better treatment than it got from the critics. Sexual harassment of males by female superiors may be rare (and more likely than harassment of females by males to go unreported) but it takes place. Both Michael Douglas and Demi Moore are playing against type; only Donald Sutherland fits his character like a glove. But it's a reasonably good film and the major scene in which Moore's character is exposed as a liar and schemer works well, though with a boat load of improbable touches. If it makes the corporate world look like a jungle with predators around every bend, well, if you've been exposed to the corporate world it isn't much of a stretch.

This is a pretty good drama with an excellent cast of characters. The story centers around Michael Douglas, who plays a division head in a high tech company in Seattle that is undergoing a merger. Demi Moore plays his old girlfriend, an aggressive corporate executive, who comes in and snatches away the job promotion he was counting on, then failing to seduce him after hours, files a false sexual harassment with the company in order to get rid of him.

It's interesting that although the story revolves around Michael Douglas's plight, it's the women who set the events in motion and who help the protagonist resolve the problem he's presented with. Female empowerment is the main theme of this movie.

Demi Moore gets perhaps her best movie role ever by playing the sexual predator to Michael Douglas's easygoing mid-level manager. She knows how to play the corporate game much better than him, and quickly boxes him into a dicey situation. How does a guy explain that it was his female boss who hit on him and not the other way around as she claims? Demi Moore controls the situation well for most of the movie, and plays the villain so well that the viewer really enjoys when she finally gets her comeuppance.

Roma Maffia does an excellent job of playing Michael Douglas's lawyer. He's lost on how to respond to the sexual harassment charges and what to do to preserve his job, and she forcefully takes over his defense and steers him towards a successful resolution. She also understands how the game is played and keeps her nerve when the company comes after her client.

Caroline Goodall plays Michael Douglas's wife and displays a perfect combination of anger and support while he resolves the charges against him. A lawyer herself, she understands the situation her husband has gotten into much better than he does, and is there for him as both an advisor and partner.

Rosemary Forsyth plays another female executive at the company who, without giving away the plot, mentors Michael Douglas through his dilemma. She's smart, but calm and principled, and in fact it is she, not Douglas, who eventually gets the promotion to head the company.

Even though Michael Douglas is the protagonist and eventually overcomes the crisis he's facing, his character is basically weak in the movie. He's carefree and unfocused at the outset, assuming the job promotion is his because he's done a good job for the company, and is completely blindsided when a woman takes it away from him and then threatens his career and his marriage. Douglas eventually takes charge and with alot of outside help and some improbable plot twists gets the upper hand, but in the cutthroat world of corporate intrigue, he's the little fish who gets lucky and swims out of the net.

Donald Sutherland hands in his usual fine performance as the president of the company. Dennis Miller plays a computer geek working for Michael Douglas and has a few humorous moments, but suddenly turns nasty in the middle of the movie and then just disappears. Dylan Baker plays a sort of Mr. Smithers kind of character to Donald Sutherland's Monty Burns, and is just egregious enough make you hate him, which is a good sign of a performance well done.

There are a few plot twists that offend the viewer's senses and things are wrapped up just a bit too neatly, but all in all, this is pretty good entertainment from start to finish. The movie touches an important issues, sexual harassment in the workplace, and makes it more interesting by making the woman the aggressor and the man the victim. Not surprisingly, I noticed that women gave this movie a higher average rating than did the men.

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