People are voting emotionally.

Memorable, crazy movie

Let's be realistic.

I don't have all the words right now but this film is a work of art.

Don Johnson really gets to show his stuff impressively playing accused wife murderer David Greenhill. He is vicious, manipulative, conniving and as such, would make a terrific TROLLing poster on the message boards. He is totally without morality, truthfulness or empathy. He is a psychopath BUT he is man-pretty and charming and the women he cons just love him.Rebecca DeMornay is the lawyer who gets conned and then legally forced into defending this indefensible person. The always interesting Jack Warden is her friend private detective Moe. All of the actors are good at their jobs despite a few major plot holes. The story itself is pretty labyrinthine but it can be followed. The ending is satisfying even though unbelievable.The best part is watching the workings of a truly psychopathic mind at work. It may leave you shaken if you know there really are such people out there !

**SPOILERS THROUGHOUT THE REVIEW** High powered attorney Jennifer Haines (Rebecca DeMorany) is seduced by handsome, smooth (and obviously sociopathic) David Greenhill (Don Johnson) into defending him over a charge that he killed his wife. As she gets to know him she discovers that he DID kill his wife and is slowly destroying her life. She gets old friend Moe (Jack Warden is wasted) to help her but David isn't above killing to get his way.It starts off good with great acting by DeMornay and Johnson but the story gets sillier as the movie goes on. Some VERY questionable legal technicalities are bought up and DeMorany goes to truly ridiculous lengths to get Johnson convicted WHILE she's defending him! Also there are huge loopholes in the script and DeMornay overreacts (and overacts) when she realizes what's going on. Seriously, wouldn't an intelligent attorney like her see that Greenhill is a raging sociopath AND extremely dangerous? Still all the acting is good and it leads up to a bloody and satisfying conclusion. I give this a 6 but (unless you're a fan of any of the stars) you're not missing anything. I originally saw it back in 1993 in a theatre and I wasn't thrilled with it then either.

Stalking and talking seems to be what "Guilty as Sin" is all about. Don Johnson does the stalking of his lawyer, Rebecca De Mornay, and everyone in the film talks and talks. Unfortunately, the womanizing Johnson, comes across as an almost unreal villain. He assaults Stephen Lang, yet no police are ever involved. He produces a surprise witness, who's motivation for giving him an alibi for his wife's murder borders on ridiculous. The only redeeming factor about Don Johnson is that his character is so despicable, you have to hang around for the ending, simply to see him get what's due. Don't blink however because the end when it finally does come is both swift and a real stretch of reality. Watchable, but not much more. - MERK

There's a big laugh in the middle of this contrived psychological thriller. I won't give it away, because it's easily the best moment in the film. It's the scene in a bar with Don Johnson, and it sketches in his character more brilliantly than anything before or after. You'll know it when you see it.Well, if you see it. If the script had displayed that kind of wit throughout, this movie would be a must-see. As it is, there is too little that makes it memorable and too much that makes it hard to suspend disbelief.Rebecca De Mornay plays a flashy criminal defense attorney who does her job with spectacular cunning – even for the most unsavory defendants. But her newest client (Don Johnson) is not just unsavory. He could be dangerous enough to kill her.The first thing you'll notice is Howard Shore's excellent score during the title sequence. It's silky and sinister and immediately draws you in (despite the tacky-looking computer graphic that accompanies it). Next, the film looks really good. Sidney Lumet – who also gave us "Twelve Angry Men," "The Verdict" and many other terrific movies – knows how to direct a good courtroom thriller. And what a courtroom. The photographer, Andrzej Bartkowiak, makes the most of this spacious green-marble set.An early scene is promising. Don Johnson glides into De Mornay's office and asks her to take his case, brazenly confessing that he's a womanizer and a gigolo – yet innocent of throwing his wife out of a skyscraper window. She refuses at first, but Johnson's boyish egotism is too hypnotically fascinating.But later, both actors falter. De Mornay makes several bad choices in her performance, playing too many scenes like a frightened rabbit. Johnson has a scene in his apartment, where he makes a sandwich with a long kitchen knife that he winds up waving in De Mornay's face. His character loses control, but so does the actor. Johnson looks and sounds ridiculous.But the main problem is the script from schlock-horror director Larry Cohen. First, there's Jack Warden's character, a father figure to De Mornay, who comes off as purely functional. He's there to do things De Mornay's character cannot, and we don't give a damn about him, not even when he winds up in danger.Second, De Mornay ends up framing her own client, an enormously risky endeavor that could easily destroy her career and even send her to prison. Why? Presumably to protect herself and other women from Johnson. But the movie fails to convince us she has no saner options.Third, there's the woman who becomes a last-minute witness for the defense. I won't give away too much, but her motivation for doing what she does is totally inscrutable.Lastly, there's the gruesome climax. It plays ludicrously, though De Mornay is allowed one last, good moment. Her hysteria at the peak of her ordeal is touchingly real. Otherwise, the whole thing feels forced and phony.So does the movie.