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Kiss the Girls (1997)

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Police hunting for a serial kidnapper are helped when a victim manages to escape for the first time.

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(novel), (screenplay)
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5 nominations. See more awards »

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Cast

Cast overview, first billed only:
... Dr. Alex Cross
... Kate Mctiernan
... Casanova / Nick Ruskin
... Sikes
... Will Rudolph
... Kyle Craig
... Sampson
... Chief Hatfield
... Seth Samuel
... Dr. Ruocco
... Henry Castillo
... Naomi Cross
... Dr. Wick Sachs
... Nana Cross
... Janell Cross (as Tatyana M. Ali)
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Storyline

Alex Cross, a Washington D.C. cop and forensic psychologist learns that his niece who is going to college in North Carolina is missing. So he goes there and learns that the police think she's among the victims of someone who kidnaps young girls and holds them captive and kills them who dubs himself Cassanova after the great lover. Later Kate, one of his victims, escapes and tries to help Cross find his niece. Written by rcs0411@yahoo.com

Plot Summary | Add Synopsis

Taglines:

A detective is searching for a deadly collector. His only hope is the woman who got away. See more »


Motion Picture Rating (MPAA)

Rated R for terror, violence and language | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

|

Release Date:

3 October 1997 (USA)  »

Also Known As:

Besos que matan  »

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Box Office

Budget:

$27,000,000 (estimated)

Opening Weekend USA:

$13,215,167, 5 October 1997, Wide Release

Gross USA:

$60,527,873

Cumulative Worldwide Gross:

$24,500,000, 8 March 1998
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

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Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Gillian Anderson was initially going to play Dr. Kate McTiernan during her hiatus from The X-Files (1993). See more »

Goofs

Kate's hair when she is at the river bank with Alex. See more »

Quotes

Kate McTiernan: [Kate is under hypnosis, reliving her escape from Casanova] I hear him, whispering.
Alex Cross: [about Casanova] What does he say?
Kate McTiernan: I can feel his mouth on my ear, his breath. He tells me that he loves me.
Alex Cross: Tell me about his face. Tell me about his eyes. His mouth.
Kate McTiernan: [Kate's breathing begins to quicken] He has no face. A mask! He always wears a mask!
Alex Cross: What kind of mask? What does it look like?
Kate McTiernan: [her breathing slows] It changes. I can't show him that I hate him.
Alex Cross: But you escape. What do you see when you escape?
Kate McTiernan: I ...
[...]
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Connections

References The Fugitive (1993) See more »

Soundtracks

I Want To Hug You
Written and Performed by John Lee Hooker
Courtesy of Pointblank/Virgin Records America, Inc.
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User Reviews

 
great acting from the lead, uninspired plot exposition
20 April 2004 | by See all my reviews

If you like serial killer films that like to tax your brain, you should probably give this movie a look (exactly the reasoning I was following when I picked this up at a video store). Chances are, you'll be entertained by what you see. Just don't expect this one to be a nailbiter like Silence of the Lambs or Se7en. This one comes across as more than a little forced, at times, something that can't be levelled against those two superior films.

The plot setup is as follows. A forensic psychologist (whom we get to see in action in an unrelated case, as an introduction), Dr. Alex Cross (played by Morgan Freeman), is placed in a personal position when his niece disappears, among 8 other women -- two of which are soon found dead in a forest, clearly brutally raped earlier. Cross, a clever guy, soon determines that the other six are probably alive out there somewhere, including his niece. Meanwhile, a young doctor named Kate (Ashley Judd) is herself captured by the rapist/murder/etc. (we see the events unfolding from her perspective). She, however, manages to escape. Dr. Cross and she then try to solve the case, so that Cross's niece may be rescued.

From here on, we get standard cop thriller fare -- and I'm not saying that as a bad thing, as such stories, when well crafted, are inherently interesting -- with a clear bond (not a romantic one) forming between Cross and Kate. Of course, plot twists abound (you get plenty of surprises about who the killer might be), until the inevitable (and a bit predictable) violent conclusion. Of course, the serial killer seems to be pretty kinky (an important element for a film like this); his depravity is, unfortunately (or fortunately?) never fully fleshed out.

Through it all, Morgan Freeman does an admirable job. You feel the weight of his intellect and emotion, as he goes about this personal case, even when the script doesn't project this weight itself. It's fascinating to see a professional transcend this material so easily. Freeman makes this film, 100% -- he's not only realistic but also heavily charismatic (without seeming forced, as Al Pacino on late-career-autopilot seems to be). Ashley Judd does a good job, as does the supporting cast (well... the serial killer isn't that great...), though a certain scene where she emotionally tells her story to Cross is way forced.

There are times, however, when great acting just can't make up for a mechanical script. It's not that the plot is bad itself, it's that it's exposed somewhat mundanely. It seems as though whenever a plot point is determined by the characters, they dwell on it for a bit, until it becomes uninteresting, and then the next plot point is delivered to us. The method of delivery never seems to flow out of the film's preceding movement, and often defies common sense (why would a psychologist be able to pick up a medical reference and easily pick out the drug used on a victim, when the actual medical doctors could not? it's possible but seems a bit too convenient).

The film's handling of the script is good. It looks good, and sounds good (in 5.1 surround). I still couldn't help but notice that all the tricks one normally sees that are supposed to increase tension and drama are used in this film, too, even when the script just doesn't provide the same tension and drama. (For instance, when Freeman makes a solemn pronouncement about some trait of the killer he randomly decided on, because he's so good.) When this happens, it feels like the movie is going through the motions (no matter how hard it tries, it's just not as hard-hitting or dark as, say, Se7en). Often enough, though, the cinematographer's and director's work fits the screenplay perfectly, especially during the action at the end. The experienced movie goer, however, will probably detect a moment of randomness (watch the camera work during the bar scene with the three detectives, after Jeremy Piven asks Ashley Judd to stay still) -- I'm probably nitpicking here.

Well, there you go. It's a good movie, but quite cliched, and too often it just doesn't feel right. But if you use it to admire Morgan Freeman's work, you will be entertained. 6/10


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