Rebecca De Mornay is so beautiful in Guilty as Sin. She's got beautiful blonde hair and bright blue eyes and a killer body. I love her. Guilty as Sin is a true testimony to Miss De Mornay and her beauty, with a Don Johnson. Talky, talky, talky, when is sweet Rebecca going to show me her personal dockets so I can cross-examine her? I love this even though it's kind of boring. It has its redeeming moments. An exhilarating De Mornay exhibit, indeed!

Good attracts evil. Evil attracts good. The definition of good, in this instance, is the ability to attract an opposite. The definition of evil is the same. Good is the ability to not destroy. Evil is the ability to destroy. The ability to protect is the ability to attract an opposite. The ability to destroy is the ability to attract an opposite. Protection attracts an opposite. Destruction attracts an opposite. Protection attracts destruction. Destruction attracts protection. Attraction is ability. Protection is the ability of destruction. Destruction is the ability of protection. Ability is purpose. The purpose of destruction is protection. The purpose of protection is destruction.Destruction is inability - the lack of purpose. The lack of purpose is the purpose of protection. Purpose is the purpose of the lack of purpose.No purpose is the purpose of purpose. The purpose of purpose is no purpose. No purpose is inertness. Inertness is the purpose of purpose. The purpose of purpose is inertness.The purpose of purpose is the same as the inertness of inertness. The inertness of inertness is inertness.Inert inertness is incapacity that's incapacity - the incapacity of incapacity is inert.Inertness is balance. But balance is the incapacity of incapacity. The incapacity of incapacity is the capacity of capacity. The capacity of capacity is an unmotivated capacity. Balance is an unmotivated ability - a motivated inability.The true meaning of order, or balance is when an inability to do something possesses reason. If an inability has no reason, an inability isn't possible.All weaknesses, all limitations and all hardships in reality are only possible because they've been given power.All power in the universe can only be used to create weakness

**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.

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.