Drama / Thriller

IMDb Rating 6.1 10 42573


Uploaded By: FREEMAN
Downloaded 54,237 times
April 19, 2019 at 09:40 AM



Donald Sutherland as Bob Garvin
Demi Moore as Meredith Johnson
Michael Douglas as Tom Sanders
Donal Logue as Chance Geer
720p.BLU 1080p.BLU
1.07 GB
23.976 fps
2hr 8 min
P/S 5 / 27
2.05 GB
23.976 fps
2hr 8 min
P/S 6 / 16

Movie Reviews

Reviewed by Spikeopath 7 / 10

Sexual harassment is about power. When did I have the power? When?

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

Reviewed by Ben_Cheshire 7 / 10

Taut psychological suspense, good performances. Didn't like the sci-fi stuff!

Tense thriller mixes legal suspense, gender-role debate and technology-based action, with mixed results. In fact, its all good except for the computer stuff. The firm which the film revolves around is Digicom (a bit too made-up sounding for my liking), a computer technology firm. We're told at the beginning that the firm is developing a new technology, which will be used as collateral in the upcoming merger. They develop a sort of virtual reality file-scanning system, which doesn't make file-searching any easier whatsoever, but is more like an unnecessary toy for show - but it plays a part late in the film that, for me, was my only complaint about the film. All of a sudden, we go into the machine, and it just sticks out like a sore thumb as being totally wrong for this movie - we're in a sci-fi movie all of a sudden. Plus, it was totally unnecessary. In the scene straight after, the character reports what they discovered in the machine, so it was more for show than relevance - but it ends up hurting the consistency of the film for those five minutes.

This film suffers a little from the same thing the Sandra Bullock vehicle The Net suffers from - in hindsight, now that we've all just accepted the internet and computers as a helpful part of our daily existence, all these old fears we had seem slightly silly. Its a bit like looking back at those Y2K scares and thinking how ridiculous we were to be so afraid. Unlike The Net, though, technology-phobia is only in the subplot of this film. Its more about what happens between Michael Douglas and Demi Moore late one night at the office, and what happens afterwards.

Its very wordy - so be prepared for that. A couple of early dialogue scenes should have been rewritten with the dialogue absent, and told with a couple of thoughtful extended shots. But maybe i only think that because i've just gotten into Antonioni. He really makes this movie look reliant on words.

The sex scene is so well choreographed as to feed an entire movie's worth of plot. Its sexy - true, Demi Moore radiates sex appeal like you wouldn't believe - its an incredible scene to watch. But its stict mechanics are also very necessary for the rest of the plot. Its one of the most necessary and justified sex scenes i've ever seen.

Overall, it works. Its a tense thriller with two really incredible performances from the leads. I don't think its an essential movie, and its not particularly pleasant, if that's what you're after, but if you want a good tense thriller (which many of us do), this is worth a rental. Plus, we feel for Michael Douglas and want things to turn out good for him. So in that way, i think it deserves a workmanlike 7/10.

Reviewed by ccthemovieman-1 8 / 10

Very Satisfying Story

This was satisfying to watch, just to see justice done to an evil character (played well by Demi Moore). It's also refreshing - and astonishing - to see the flip side of the coin: a man accusing a woman of sexual harassment and proving it! What a unique twist, almost unheard of in the Liberal world of mainstream films.

Michael Douglas co-stars with Moore and is good, too, but I found Douglas' lawyer "Catherine Alvarez" played by Roma Maffia, to be the most interesting of them all and making the most profound statements in this tale of "power" (not sex).

Donald Sutherland gives another convincing performance as a "bad guy" as well. That's a role he seems best suited to play. All the actors are good on this adaption from a Michael Crichton book.

The radical feminists didn't like this movie, so you know the the film has something going for it besides good acting and dialog. They want everything slanted to them, but as it's pointed out in the film, things can go both ways.....and what's wrong with an even playing field?

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