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]

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.

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.

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.

Genuinely gripping, Demi makes an awesome femme fatale.

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.

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]

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.

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.

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.

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]

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]

Disclosure is pure and simple trash masquerading as significance. [9 Dec 1994, p.B]

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.