5.6/10
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39 user 23 critic

Guilty as Sin (1993)

A female lawyer takes an accused wife-murderer as a client, but finds herself morally compelled to betray him one way or another.

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Cast

Cast overview, first billed only:
...
...
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Phil Garson
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Moe Plimpton
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Judge D. Tompkins
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Prosecutor DiAngelo
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Emily, Jennifer's Assistant
Sean McCann ...
Nolan, Greenhill's Doorman
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Lt. Bernard Martinez
Robert Kennedy ...
Caniff
James Blendick ...
McMartin
...
D.A. Heath
Christina Grace ...
Miriam Langford (as Christina Baren)
Lynne Cormack ...
Esther Rothman
...
Kathleen Bigelow
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Storyline

A man accused of murdering his wife approaches a hotshot female criminal attorney to take his case. The man is a self-professed womaniser, and his alleged motive would be the large sum of money his wife left him. The attorney begins to have second thoughts about representing him when he starts making it look like they're having an affair and tells her things she can't reveal because of lawyer/client privilege, so she starts her own investigation of him, which threatens her career and the safety of her friends and herself. Written by Ed Sutton <esutton@mindspring.com>

Plot Summary | Add Synopsis

Genres:

Crime | Drama | Thriller

Motion Picture Rating (MPAA)

Rated R for violence, language and some sexuality | See all certifications »
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Details

Country:

Language:

Release Date:

4 June 1993 (USA)  »

Also Known As:

L'avocat du diable  »

Filming Locations:

 »

Box Office

Gross:

$22,886,222 (USA)
 »

Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The French title for this film was "L'Avocat du Diable", which means "The Devil's Advocate". See more »

Goofs

Jennifer Haines (Rebecca De Mornay) is having dinner with her friend, Moe (Jack Warden). He fills her plate with spaghetti and sits down with the serving dish. His plate is clearly empty. In the next two shots, he has a full plate of food. See more »

Quotes

Jennifer Haines: I think I can get him off.
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Connections

Referenced in By Sidney Lumet (2015) See more »

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User Reviews

 
Ludicrous psychological thriller with a good score and a few good moments
27 February 2005 | by (United States) – See all my reviews

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.


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