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!

This movie no good, grammar defies it. I mean it's not terrible, but it sucks to watch this movie. I feel like Rebecca DeMornay has been shamefully misused by the film industry, most women in film have been shamefully misused, but with Rebecca DeMornay in her eyes you can see that she knows it, she knows she got screwed. OK movie tries to be steamy erotic thriller but never actually commits- movie tries to be suspenseful but instead is only slow and jerky. No one is offensive with their acting, the directing is passable, cinematography is quality work as is editing, professional grade production value, story sucks is all, story is crap. A lifeless bloodless narrative that fails primarily for lack of characters- oh its got characters, but they are nothing people who feel nothing and go nowhere and never ask why. Needs more tittie and a car chase?

I have seen this movie numerous times and it has become one of my favourites.Rebecca DeMornay gives a convincing portrayal of slick Chicago Lawyer Jennifer Haines, who is looking to "feel her oats" as she puts it by taking on the toughest cases she can find. Enter the completely psychotic David Greenhill played extremely smoothly and surprisingly convincingly by Don Johnson.He is a compulsive womaniser and has lived off of women most of his life. He is cold calculating but also incredibly charming and attractive to women. He is accused of throwing his wife from an 18 storey window and makes a good case for his own innocence. DeMornay though initially reluctant eventually decides to take on his case and here begins a nerve shredding game of Cat and Mouse that will ultimately end badly for one of them.I really enjoyed the photography and the top drawer performances from the two leads, in particular Don Johnson who totally surprised me in his ability to portray a truly psychotic individual.Stephen Lang's role as DeMornay's boyfriend is small and ultimately inconsequential in the film, Jack Warden's part is also fairly small but he does okay as an investigative aide to DeMornay. Ultimately though your eyes will be firmly glued on the two leads, to see how this plays out.The ending although a little unbelievable does not detract much from the film which for me is worth 7/10

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.