Cate Blanchett and Sacha Baron Cohen in Disclaimer

Disclaimer review: not the thriller I hoped for

Disclaimer opens with a warning not to trust what you see in the frame. Then it proceeds to show you how misunderstood photographs can destroy your life.

Disclaimer was written and directed by Alfonso Cuarón. I was not impressed by this 7 part series. I found it confusing and all over the place. The tension you would expect in a thriller was not there until the very end. I saw the twist at the end coming, which is not something you want in a suspense thriller.

Catherine (Cate Blanchett) is a documentary filmmaker. She’s married to Robert (Sacha Baron Cohen). They have a grown son, Nicholas (Kodi Smit-McPhee). Much of the story takes place 20 years in the past, in Italy. Nicholas was a child. Catherine was played by Leila George as a young woman.

One day in the present Catherine finds a book beside her bed. It’s about her, about something that happened years ago in Italy. She recognizes the story but gets very upset about it. She seeks out the author to ask him to stop sending the book around to her family and people she knows.

Kevin Kline and Lesley Manville in Disclaimer
Stephen (Kevin Kline) and Nancy (Lesley Manville) stand in the water where their son died.

The book was written by Nancy (Lesley Manville). Years after her death her husband Stephen (Kevin Kline) finds a manuscript and a set of sexually explicit photos of young Catherine and Stephen and Nancy’s son Jonathan (Louis Partridge).

Stephen self-published the book and sent it to Robert and Nicholas. Robert realized it was about his family and believed everything in the book about an affair Jonathan and his wife had.

Young Nicholas had almost drowned. He was saved by Jonathan, who did drown. In her book, Nancy blamed Jonathan’s drowning on Catherine.

Leila George in Disclaimer
Young Catherine (Leila George) in Italy

Stephen gleefully plans to destroy Catherine and her son based on what he’s read in his wife’s book. Catherine is chasing around after him trying to talk to him about the book. Robert is jealous and angry and plans to leave Catherine.

When Catherine finally gets her chance to tell her side of the story to Stephen, things change. Cate Blanchett was a minor actor through most of the series which was heavy with flashbacks. In the last episode, when she finally tells her story, Cate Blanchett gets to dominate the series. She’s finally being heard and her story is dynamite.

The cast in this was very good, as you would expect from such quality people. Kevin Kline was particularly interesting as the elderly old coot bent on revenge. The characters were different from anything you’ve seen these actors do before. I found that pleasing. Cate Blanchett was obsequious and servile through most of it – not what we usually see. Lesley Manville fell completely apart with the death of her son. Kevin Kline was deadly in his bedroom slippers and too-tight cardigan.

Even with all that going for it, I found Disclaimer scattered and definitely below what you’d expect from a cast like this and director like Alfonso Cuarón. It’s streaming on Apple TV+ if you want to give it a try. Please share what you thought of it if you do give it a watch.

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Comments

15 responses to “Disclaimer review: not the thriller I hoped for”

  1. Tony Avatar
    Tony

    aaaaaaaaaaaaaaaaaaaaaaaaaaa

    Dear Ms. DeBolt,

    In the 1st paragraph of your newsletter for Disclaimer (2024) and the related review in your website, you wrote:

    “…misunderstood photographs can destroy your life.”

    Of the 3 photographs that you chose for the review, you labelled only 1 of them!

    ooooooooooooooooooooooooooo

    I’m very happy that you printed at least 1 label;

    otherwise, it would have been understandably difficult to identify Young Catherine AND Leila George

    {yes, of course I was interested,

    to name the good-looking actress in your chosen photograph}.

    ooooooooooooooooooooooooooo

    Perhaps you would consider, kindly add 1 line {or 1 name} to each photo for your reviews, in future?

    That would be a significant and noticeable improvement, definitely, to help us understand and learn more from your reviews 🙂

    zzzzzzzzzzzzzzzzzzzzzzzzzzz

    1. Virginia DeBolt Avatar

      The characters were identified in the text, but I added some more explicit labels to help you figure it out.

  2. Tony Avatar
    Tony

    aaaaaaaaaaaaaaaaaaaaaaaaaaa

    The adding of more info

    makes stuff easier

    to understand!

    That’s a positive thing 🙂

    No name at all,

    in general,

    makes stuff harder

    for identification.

    ooooooooooooooooooooooooooo

    On the other hand, just

    one name for the

    one person in the picture

    {or 2 for 2, et cetera}

    may be enough,

    sufficient for identification

    {Young Catherine, plus

    my own investigation

    with the IMDb, equals

    Leila George}.

    ooooooooooooooooooooooooooo

    Your most recent

    utilisation of brackets

    {in tags for photos}

    is very cool 🙂

    Although I do worry

    that it might be a burden,

    perhaps too much work

    in the long run.

    ooooooooooooooooooooooooooo

    Thank you, Ms. DeBolt,

    for your consideration

    and

    some informative additions.

    ONE single word,

    ONE name each for

    two of the photos

    in your review about

    The Spitfire Grill (1996),

    SUFFICIENTLY great!

    ooooooooooooooooooooooooooo

    Thanks again for trying to

    make life easier,

    for this subscriber

    to your newsletters,

    an OAD reader 🙂

    zzzzzzzzzzzzzzzzzzzzzzzzzzz

    1. Virginia DeBolt Avatar

      Thanks for reading! I appreciate it.

  3. Gwen Lovett Avatar
    Gwen Lovett

    Given my impatience with watching any story that’s strung out over several weeks, I did what I typically do and waited until after the final episode aired to binge watch Disclaimer. My experience went something like this:
    Episode 1. Annoyed with the opening scene; but the rest of the episode is intriguing. I quiet my skepticism and sign up for the Apple free trial. Let’s see where this story goes.

    Episode 2. Though the characters are vague, the acting is holding up. The story’s mood is gripping, the tone tense enough that I remain interested.

    Episode 3. My recall is unclear, but I think this is the episode where the script took a free fall into gratuitous sex, and the full-on male gaze style of filmmaking that I abhor. My dignity as a woman feels violated; the violation manifests as anger. This does not feel good.

    Episode 4. Anger is joined by exasperation as character actions that should be dramatized continue to be relegated to narration. The narration itself is often unnecessary. Character motivations are buried. Every single character (except the cats) has proven themselves unlikable and unworthy of empathy. The flashback-heavy story has become incoherent and boring. I keep watching because I’m too tired to find anything else to watch.

    Episode 5. Oh-oh. I begin to notice that I’m watching Disclaimer for the pleasure of flinging the full force of my fury at it.

    Episodes 6-7. I hate-watch the rest of the series. This, I enjoy (for cathartic reasons not all to do with the series).

    A few years ago, I swore off any ‘female-centric’ movie or TV series that was both written *and* directed by a man. Write or direct the story, but not both. This, because in my experience, too often male writer-directors settle for titillation where psychological insight and emotional depth and nuance are needed. This year, to my dismay, I violated my avoid male writer-director oath twice (Poor Things, Disclaimer). Lesson learned, though, this is unlikely the last time I’ll be taking the lesson.

    1. Virginia DeBolt Avatar

      It upsets me when women like Cate Blanchett and Leila George take roles like this. Or work with men like Woody Allen – or in this case Alfonso Cuarón. And what woman spends her time imagining her son’s sexual exploits?

      1. Gwen Lovett Avatar
        Gwen Lovett

        Same. Though I admire Cate Blanchett’s talent, I lost admiration for her as a person when she defended her decision to work with Woody Allen by saying that the accusations against him were a family matter. I was livid! That was totally self-serving on her part; totally tone deaf to the situation, and dismissive of the reality that Allen’s “fascination” with under-aged girls appears several times in his movies. I’m thinking particularly of Manhattan. That ongoing interest doesn’t just happen for “artistic” reasons. Muriel Hemingway even publicly stated that Allen tried to arrange with her parents for Muriel to go on an unchaperoned trip with him. Shame on Cate.

        I’d never heard of Cuarón, or seen any of his work, to my knowledge. Suffice it to say, I won’t be watching anything else; particularly, anything that has a female protagonist.

        And yep, the mother’s obsession with her son was totally cringey. Revenge and grief have always been two of my least famous themes in storytelling. Here we got both. Martyrdom to grief is by far the most grating handling of the subject. Argh!

      2. Virginia DeBolt Avatar

        Well said. I appreciate your comments so much. Thank you.

  4. Stephen Sossaman Avatar

    Before I make a couple of positive comments about Despair, let me add one objection to those that you and your commenters have expressed. When Robert reads the sex scene in Nancy’s book, we then see it enacted. What initially appeared to me to be the sudden collapse into awful acting and worse writing turned out to be a representation of Nancy’s clumsy and pornographic bad writing, and her perverse imagination.

    The detailed mechanical specifics of the sex, as Nancy imagined the scene involving her own son, might be justified as a sign of her Greek-tragedy level rage, but ultimately were not plausible for the character. Would a mother do that? While I am fine with watching well done creepiness, the scene went on and on and on, with each minute adding nothing to our sense of the characters, or to the plot.

    Reluctantly, I am left with the idea that the director was willing to pause the story development in order to dazzle us with Leila George’s beautiful body, or to indulge in a porn-level fantasy about male domination, and a woman’s submission. I am always suspicious of a sex scene that does not significantly and quickly reveal character, or character relationships, or advance plot, and I believe all that can be accomplished by one fine line of dialog or symbolic act (e.g. a gesture that moves us beyond flirtation into action, or shows who is taking charge).

    With that criticism aside, I have to quietly disagree with you, Virginia, that the show was scattered. Despair is built around the recognition gifted to us by modernist novelists that we all have our own perceptions, distorted by our egos and backgrounds, and that these often clash in personally catastrophic ways. Despair presents us, as life itself presents us, with out-of-order fragments which we hope to piece together acceptably.

    While all of the characters are, as Gwen Lovett commented here, “unlikable and unworthy of empathy” on one level, on another some are just ordinary, flawed human beings, like your readers. Some are actively evil — all three Brigstockes — others are flawed in ordinary ways, but eventually come to their senses. Despair is a story that suggests however painful the process, letting the truth out is good for people. I am not convinced that is true, but mass entertainment has to reassure us.

    1. Virginia DeBolt Avatar

      Thanks for reading and thank you for your thoughtful comment.

    2. Gwen Lovett Avatar
      Gwen Lovett

      Given that my name was mentioned in your comment, I feel compelled to respond.

      [*Possible spoilers below*]

      THE SEX SCENE. Let’s keep in mind, there was more than one. Whether the explicit sex scene Cuarón filmed was an enactment of Nancy’s (the mother’s) book is not the point. My criticism is about the choice Cuarón made to film that scene as he did. Nancy is not the protagonist of the story. As you acknowledged, dramatizing her “pornographic bad writing” did nothing to further the story. This fact alone made the scene gratuitous. The “detailed mechanical specifics” is what made the scene offensive (from my perspective).

      An argument can be made that *the explicit scene* served to establish Catherine’s (Cate Blanchett) desperate motivations: keeping her dark secret from being revealed, and her trauma suppressed. But, filming that scene was not the best, or only, way to establish Catherine’s motives or characterize her. When a writer-director thinks that sex scenes are the best choices in telling a story – meaning to create and heighten suspense, to deepen emotional involvement and engagement, create a satisfying story – I consider that a failure of imagination and skill. It’s often the case that what engages men and women are quite often not the same.

      STORY THEMES. Your experience of Disclaimer is that it was about despair. With respect to Nancy and Stephen, my experience is that it was about two people getting stuck in the complex grief process; being unable to navigate it, and worse, being unwilling.

      Nancy’s and Stephen’s stories were subplots driving the main story. Their character flaws and weaknesses, their getting stuck in their grief, were complications that created Catherine’s story (and to some extent, the son’s). We know the main story is Catherine’s because of how and where the plot resolves and the story ends: she and her son are the characters in the final scenes. Everything else serves their character arcs (or should). Therefore, the storytelling should make those two characters compelling, make us care about them. Or, at the very least, make them interesting – flaws and all; especially the flaws. For how I engage with stories, Cuaron failed to do this. Surely, for others, he succeeded.

      Finally, and allow me to be blunt: what I experienced from your comment is mansplaining. Sharing experiences is often of great value; but not when sharing ‘objects to’ the experience and expression of those with whom you’re sharing. Just tell us what you thought of, felt about, and experienced in the story; not how you object to, or disagree with, our own experience of it.

      1. Virginia DeBolt Avatar

        I didn’t mention it in the review (which I just reread) but I thought the sex scenes with the younger woman were gratuitous and misleading. A dirty trick played on the viewer that did nothing more than glorify the male gaze.

      2. Stephen Sossaman Avatar

        I did not object to anything that Virginia or you wrote, Gwen. I added an objection to the film, to add to the objections to the film that had already been noted in the review and comments. We three are on the same side here, I think, but that is just my opinion.

  5. Gwendolyn Lovett Avatar
    Gwendolyn Lovett

    Virginia, my comment was intended for Stephen. Did I click on the wrong Reply link? Oops!

    1. Virginia DeBolt Avatar

      That you were responding to him was clear. I was just chiming in. I don’t think WordPress is indenting the threads properly.

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