Film
Criminal Law
A Boston lawyer springs a brutal murderer on a legal technicality, then immediately takes his case again—this time secretly building evidence to convict him. Gary Oldman and Kevin Bacon prowl around each other in a taut psychological thriller that's less about courtroom procedure than about obsession, guilt, and the price of winning at any cost. Lean, mean, and deeply '80s.
If you liked this
Presumed Innocent1990
A lawyer's affair becomes entangled with a murder case he's defending, unraveling his marriage and career. Harrison Ford at his most morally compromised, with the same claustrophobic tension of a man trapped by his own choices.
But The legal thriller formula feels familiar now, and some of the soap-opera elements haven't aged as gracefully as the paranoia.

Body Heat1981
A lawyer is seduced into a murder plot by a woman who may or may not be what she seems. Steamy, stylish, and built on the kind of moral quicksand that makes you question everyone's motives—including the protagonist's.
But The plot twist is widely known now, and the sexual politics are distinctly '80s in ways that haven't always improved with time.

No Way Out1987
Kevin Bacon as a military officer framed for a murder he didn't commit, racing to prove his innocence while a paranoid superior hunts him. Breakneck pacing, genuine stakes, and a ending that recontextualizes everything.
But The Cold War espionage subplot feels dated, and the final revelation might strike some as more silly than shocking.

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M1931
Both films are built on the idea that obsession with a guilty man corrupts the pursuer as much as the pursued. In Criminal Law, Oldman's lawyer becomes as morally diseased as Bacon's killer. Lang's film invented that scenario.
Fritz Lang's masterpiece: a child murderer hunted by both police and Berlin's underworld, defending himself in a kangaroo court. The obsessive cat-and-mouse dynamic, the moral collapse of institutions, the question of whether justice and revenge are the same thing—all of it is here, four decades before Criminal Law.
But It's silent-era German expressionism in black and white, and the pacing is deliberate; if you need energy, this won't provide it.

More like this (8)
Anatomy of a Murder1959
A small-town lawyer defends a man accused of killing his wife's rapist. Methodical, principled, and genuinely moving—it's about the legal system's ability to find truth, not obscure it, which makes it the moral inverse of Criminal Law.
But It's deliberately paced and courtroom-heavy; there's no psychosexual cat-and-mouse game, just lawyers being lawyers.

The Firm1993
Tom Cruise as a young lawyer hired by a prestigious firm that turns out to be mob-connected. The paranoia builds methodically as he realizes he's trapped, and the moral calculations get darker at every turn.
But It's a glossy studio thriller that sometimes prioritizes plot mechanics over character depth.

Sweet Liberty1986
Alan Alda as a novelist watching his book mangled into a Hollywood film, observing compromise and corruption everywhere. A lighter, genuinely funny companion piece about the corruption of integrity, just in a different arena.
But The tone is satirical rather than tense, and it's much gentler—if you want darkness, this isn't it.

Class Action1991
Gene Hackman and Mary Elizabeth Mastrantonio as a father-and-daughter legal team on opposite sides of a corporate negligence case. The personal and professional collide with real stakes, and the film doesn't take the easy way out.
But It's message-driven in a way that can feel heavy-handed, and some plot elements strain credibility.

The Accused1988
Jodie Foster and Kelly McGillis in a bruising, unflinching courtroom drama about a rape prosecution. Raw, angry, and completely in earnest about how the system traumatizes victims while defending perpetrators.
But The rape scene itself is depicted graphically and brutally—it's not a film you watch lightly, and the emotional toll is real.

A Few Good Men1992
Military lawyers defend two Marines accused of murdering a fellow soldier. It has the procedural craft and the performances (Jack Nicholson, Tom Cruise, Demi Moore) to sustain the courtroom drama, even if the plot is familiar.
But It's a hit because it's accessible and satisfying, not because it breaks new ground—by now the formula is well-trodden.

Klute1971
Both films make the real conflict internal and psychological rather than external. The actual mystery matters less than the corruption happening inside the protagonists' heads.
A detective investigating a missing person becomes psychologically entangled with a call girl, and we're never quite sure who's manipulating whom. Donald Sutherland and Jane Fonda in a film that's as much psychological portrait as thriller—paranoid, intimate, morally murky.
But The pace is glacial by modern standards, and the film is interested in mood and character over plot momentum.

Reversal of Fortune1990
Both films are about lawyers who become dangerously intimate with their guilty clients, and both suggest that the law and morality are not the same thing—sometimes they're enemies.
Jeremy Irons as Claus von Bülow, defending a man almost certainly guilty of attempted murder of his wife. A film about a lawyer defending the indefensible, built on seduction and moral ambiguity—Irons is hypnotic and repellent simultaneously.
But It's deliberately unglamorous and sometimes unpleasant to watch, and it doesn't offer easy answers about whether justice was served.

People
Cast
Gary OldmanBen Chase
Kevin BaconMartin Thiel
Tess HarperDetective Stillwell
Karen YoungEllen Faulkner
Joe Don BakerDetective Mesel
Sean McCannJacob Fischer
Ron LeaGary Hull
Michael SinelnikoffProfessor Clemens- Karen WoolridgeClaudia Curwen
- Ali GironIsabel Fuertes
- Rob RoyEthan Parks
- Terrence LabrosseJudge
Directing
- Martin CampbellDirector
- David HoodFirst Assistant Director
- Tommy GroszmanFirst Assistant Director
- Joanne T. HarwoodScript Supervisor
- Carole DubucSecond Assistant Director
- Ron MezeyThird Assistant Director
Writing
- Mark KasdanWriter
Production
- Jane FeinbergCasting
- Lynda GordonCasting
- Mike FentonCasting
- Ken GordCo-Producer
- Derek GibsonExecutive Producer
- John DalyExecutive Producer
- Hilary DwyerProducer
- Robert K. MacLeanProducer
- Kathy WolfProduction Coordinator
- Dennis ChapmanProduction Manager