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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.

Director:

Gary Fleder

Writers:

James Patterson (novel), David Klass (screenplay)
5 nominations. See more awards »

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Cast

Cast overview, first billed only:
Morgan Freeman ... Dr. Alex Cross
Ashley Judd ... Kate Mctiernan
Cary Elwes ... Casanova / Nick Ruskin
Alex McArthur ... Sikes
Tony Goldwyn ... Will Rudolph
Jay O. Sanders ... Kyle Craig
Bill Nunn ... Sampson
Brian Cox ... Chief Hatfield
Richard T. Jones ... Seth Samuel
Roma Maffia ... Dr. Ruocco
Jeremy Piven ... Henry Castillo
Gina Ravera ... Naomi Cross
William Converse-Roberts ... Dr. Wick Sachs
Helen Martin ... Nana Cross
Tatyana Ali ... 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:

View content advisory »
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Details

Country:

USA

Language:

English | Mandarin

Release Date:

3 October 1997 (USA) See more »

Also Known As:

Besos que matan See more »

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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

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

DTS | Dolby Digital

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Ashley Judd took kick-boxing lessons from stuntman Dave Lea before filming. She insisted on doing many of her own stunts, but the studio finally put their foot down, when she wanted to leap off a 150 foot waterfall. A stuntman, wearing a wig, made the jump instead, narrowly missing the rocks as he plummeted through the falls to the water below. See more »

Goofs

When Casanova is handcuffed to the stove and he pulls the gas line apart, the gas is shut off. See more »

Quotes

Alex Cross: There are about a dozen predators operating in California now. There's one; male Caucasian, probably early thirties. He's known as the Gentleman Caller. They've been onto him for over a year. And what I realized last night was that his abductions, they follow the ones here by about ten days to two weeks. Matter of fact, it was exactly ten days after Naomi disappeared that a pretty black coed disappeared from UCLA.
Kate McTiernan: So he's doing it there, too.
Alex Cross: Compulsively. And if he follows true to form, he's ...
[...]
See more »

Alternate Versions

Originally, the voice of Casanova was dubbed (though uncredited) by Jeff Kober. In later airings (notably satellite broadcasts), his voice was dubbed by Tony Goldwyn, who also plays Dr. Rudolph (The Gentleman Caller) in the movie. See more »


Soundtracks

I'll Go Crazy
Written and Performed by James Brown
Courtesy of Polydor Records
By Arrangement with PolyGram Film & TV Licensing
See more »

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User Reviews

 
A Sufficient Mainstream Psychological Cop Thriller with Particularly Good Lead Performances
19 May 2010 | by jzappaSee all my reviews

In this modest enough psycho-thriller, once more Freeman plays a policeman on the path of a perverse serial killer, and again the shade is bottomless and the antagonist is ingenious and the atrocities are intended to convey some sort of perverted meanings. Though as commercial and formula-driven as it is, the movie's not a rehash but a fertile piece, based on a Patterson book about a criminal who, the Freeman character perceives, is not killing his quarries, but accumulating them. Often said by moviegoers to be the actor whose presence has the most authority of any of his generation, Freeman has an exceptional bearing on the screen, a particular determination that we believe. He never looks or sound like he's pretending. He never gives a superficial, obvious or distracted impression, and even in movies that aren't that good, he's not guilty by association: You feel he's genuine even as a film may capsize around him.

Freeman plays Patterson's pet character Alex Cross, a forensic psychologist with the Washington, D.C., police, who becomes entrenched in a chain of kidnappings in North Carolina. When his own niece is taken, he flies there and calls on the police department, where he's kept waiting for hours until he ultimately barges into the office of the chief. The victims are being taken by a man who inscribes himself "Casanova," and one of his victims is found dead tied to a tree and "left for the critters to find." Cross questions why there aren't more bodies, and speculates that Casanova is a collector who kills only when he believes he needs to. His niece and her fellow captives must still be alive somewhere. His hypothesis is certified by what comes of extraordinarily sexy local doctor Ashley Judd, who also gives the sometimes humdrum drama a helping of forceful energy.

And what Freeman brings to all of his scenes is a really specific thoughtfulness. He doesn't just listen, he appears to cogitate what he is told, to gauge it. That masterful attribute begets a funny outcome, when other actors will tell him something and then stop to see if he trusts it. And Judd shows us such a boldly defined personality, which makes their dialogue scenes, after she's been developed for awhile, engrossing.

Kiss the Girls was directed by Gary Fleder, whose first feature, Things to Do in Denver When You're Dead, boasted skill but too much artifice. Here he's more careful and restrained, with a story where the shades and details are as chilling as anything else. Here as in Seven, we get a steady feeling of not being able to see everything we believe we want to, as in a chase through the woods which Fleder makes effectively tense through its efficient use of space, never revealing the distance between victim and pursuer.

When the film is over and we know all of its enigmas, there's one we'd like to know more about: What precisely are particulars of the histrionics between the two most nefarious characters? But being left with such a wringer is much more fulfilling in a way than being given the explanation in the conventional fast-sketch Freudian description. What we're also left with is the genuine feeling of having met two authentically defined people in the leads. Freeman and Judd are so good, you almost wish they'd chosen not to make a thriller at all, had just discovered a way to create a drama really sinking their teeth into their characterizations. All things considered, I would've preferred that movie.


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