Most critics land in the middle on Disclosure, treating it as a glossy, competently made thriller that takes a provocative subject and handles it shallowly. The reviews agree it is watchable: Empire calls it tightly directed entertainment, and Roger Ebert, though mixed, finds the sexual harassment premise compelling even when the storytelling is not. Where praise clusters is odd for a thriller: the Los Angeles Times picks out the office design and the virtual-reality sequences as surprising highlights, and Empire the chemistry between Michael Douglas and Demi Moore.
The spread is wide. Reservations gather around the plotting, which the Los Angeles Times calls muddled and short of creative passion, and around the film’s seriousness about corporate power and sexual politics, which Radio Times finds self-important and unintentionally funny. The New Yorker goes furthest, calling it tasteful and bland, with Douglas’s painfully ambivalent turn in the central sex scene its one camp pleasure. Two of the seven reviews cannot be read in full.