Tom Sanders is a manager at a computer company in Seattle. Happily married with children, Tom had big hopes for a promotion by his boss, but it goes to Meredith Johnson, Tom's seductive ex-girlfriend, instead. Somehow Tom takes it with a grain of salt, until a personal meeting turns into a seduction when Meredith decides to relive her sexual fantasy and pick up from where they left off. Tom refuses, making Meredith frustrated. Tom's only choice; to sue for sexual harassment. But everyone believes it was the other way around and his boss wants to transfer him to another division, forcing him to lose everything. Tom discovers not only is the system rigged against him, but Meredith's going to destroy his career, and bolster her own by blaming him for a serious error of judgment on her part.Written by
Christopher Howell (Ckh87520@aol.com)
Tom is trying to secure Disneyland tickets for a man with the last name Jafar. Of course, Jafar is the name of a Disney character in the 1992 hit Disney film, Aladdin. Jafar also appears at Disneyland theme park. See more »
When Tom is using the "Corridor" to look through Digicom's files, the Operations "file drawers" are labelled "Operations Singapore", "Operations Malaysia", etc. Yet when he opens the Malaysia "drawer", the system audio announces it as "Malaysia Operations". See more »
Stand-alone thriller with a mish-mash of intriguing themes
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.
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