Disclaimer (2024)

Travers calls the series a cunning, all-consuming psychological thriller whose provocative ideas remain tightly connected to its entertainment value. He particularly praises Cuarón’s balancing of three perspectives and the visual storytelling that makes the shifting narratives compelling.

Tallerico praises the premiere as a nuanced, riveting adaptation that lives up to its prestigious production. He especially singles out its seamless editing across timelines and its striking cinematography and visual design.

Spencer finds the series stylish, slick, sexy and compelling, despite a narrative that jumps around and lacks a clear thread early on. She singles out Cuarón’s visually stunning cinematography, especially the sepia-tinted Italian scenes, for praise.

Fienberg finds the series dazzling in the moment but somewhat silly and thin on reflection. He praises the performances, especially Cate Blanchett and Kevin Kline, while criticizing the story for feeling perfunctory.

Steele finds the series an enjoyable but forgettable thriller that mistakes itself for something more profound. She praises Kevin Kline’s ferocious performance, while faulting the predictable twists and intrusive voiceover.

The critic finds the series a failed feminist thriller, undone by its drawn-out pacing and ineffective handling of its central reveal. She praises Cuarón’s striking imagery but says it cannot make the story work.

Mangan finds the series slow, turgid and burdened by an abominable script. She praises its beautiful cinematography and singles out Lesley Manville’s scenes for their emotional force.

Quah finds the series a pretentious, airless slog that never makes its themes or characters compelling. He praises the striking cinematography and the performances by Cate Blanchett and Kevin Kline, while finding their work incongruous with the production.

Bernard finds the series riveting and emotionally troubling, with its twists and character work outweighing some convenient plot points. She especially praises Leila George’s performance as the younger Catherine.

Fletcher finds the series highly compelling, smart, and worth watching despite occasional implausibility. She especially praises Kevin Kline’s cantankerous performance and the show’s deft play with assumptions about age, class, and gender.

The review finds the series messy and repetitive but ultimately compelling in its exploration of how fiction shapes perceptions of truth. It praises Cuarón’s visually sharp direction and especially Kevin Kline’s performance.

The critic finds the series’ narrative too familiar and its ending unsatisfying, despite its elevated production. Cuarón’s visual craft and the committed performances are singled out for praise.

The hosts suggest that Disclaimer feels dated compared with newer prestige television. The headline singles out its resemblance to prestige TV from five years earlier as the central criticism.