Kiss the Girls is a thriller that knows what it wants to be: a race against time, a hunt for a monster, and a bond between two survivors. It also knows it has Morgan Freeman and Ashley Judd to carry it. That combination alone is worth the price of admission.
Freeman plays Alex Cross, a Washington D.C. detective and forensic psychologist whose niece, Naomi, disappears while studying in Durham, North Carolina. His search for her draws him into a larger case: a string of abductions by a man who calls himself Casanova. Ashley Judd plays Kate McTiernan, a doctor and kickboxer who is kidnapped herself and escapes, giving Cross the first real lead on the killer. The film pairs them across North Carolina and Los Angeles as they chase down the truth behind the abductions.
The movie is based on James Patterson’s 1995 novel of the same name, adapted for the screen by David Klass and directed by Gary Fleder. It runs 115 minutes and plays as a standard psychological thriller, with a dash of action and a heavy dose of dread. It is not subtle, and it does not pretend to be.
Trailer, via YouTube Movies.
Freeman and Judd Carry the Weight
Freeman is the engine of this movie. His Alex Cross is calm, analytical, and deeply wounded by his niece’s disappearance. He is not a hero who screams or charges forward; he thinks, he plans, and he trusts his instincts. Freeman brings a steady presence to the role, and his scenes with Judd crackle with tension and growing trust.
Judd matches him beat for beat. Her Kate McTiernan is a fighter, both literally and figuratively. She is a doctor who is also a kickboxer, which means she can diagnose a wound and then break an arm to get away. Her escape from Casanova’s hold is the film’s best sequence, a moment of pure physical courage that sets the tone for everything that follows. She is not a damsel in distress; she is a survivor, and Judd sells that survival with a quiet intensity that keeps the audience invested.
The Villain’s Rules
Casanova is the kind of villain the genre loves: smart, calculating, and utterly unhinged. He abducts women not for ransom or money, but for control. He admires their talents and their will, and he forces them to submit to his rules. The film does not flinch from showing what those rules mean, though it also holds back enough to keep the horror contained within a family-friendly envelope.
The film’s central mystery is simple: why does Casanova choose these women? What does he want from them? The answer comes slowly, through Kate’s memories of her captivity and Cross’s investigation into the drugs and technology that keep the victims docile. The pacing is deliberate, which is a strength and a weakness. It builds tension well, but it also drags in stretches, especially in the middle act where the chase slows to a crawl.
Los Angeles and the Plastic Surgeon
The film shifts its focus to Los Angeles once Cross and Kate connect the abductions to a plastic surgeon named Dr. William Rudolph. Rudolph is a man of refinement and cruelty, played with icy precision by Tony Goldwyn. He is not the same man as Casanova, but he is connected to him in ways that become clear only late in the story. The film spends considerable time watching Rudolph, following him from his home to a nightclub to a cabin in the woods.
This stretch is where the movie falters. The surveillance sequences are meant to build suspense, but they often feel like filler. The camera watches Rudolph drive, park, and walk into buildings, and the tension sags. The film needs to get to the chase, but it lingers too long on the slow, methodical process of gathering evidence.
A Chase Worth Watching
When the film finally erupts into motion, it delivers. The chase scenes are well-choreographed, and the film leans into the physicality of its leads. Kate’s escape from Casanova is a highlight, but the final confrontation in Los Angeles is the stronger sequence. It is fast, brutal, and genuinely tense, with Cross and Kate working together to corner Rudolph and expose his network.
The film also benefits from a strong supporting cast. Cary Elwes plays Det. Nick Ruskin, a cop who is both helpful and occasionally bumbling. Alex McArthur and Jay O. Sanders round out the law enforcement side, while Bill Nunn plays Det. John Sampson, Cross’s partner from D.C. The LAPD detectives, led by Jeremy Piven’s Det. Henry Castillo, add local color without stealing focus. The film treats them all with respect, even in small roles.
The Film’s Weaknesses
The film is not perfect. Its plotting is straightforward to the point of being predictable, and some of the clues are telegraphed well in advance. The villains are competent but not particularly memorable, and the supporting cast sometimes gets lost in the shuffle. The film also struggles with its tone, shifting between serious thriller and pulpy action-comedy without quite landing either register.
The film’s score is functional rather than memorable. It swells at the right moments but rarely adds anything distinct to the scenes. The editing is clean, and the cinematography is competent, though it tends to favor wide shots over intimate ones. The film is at its best when it is focused on its two leads, and at its worst when it is trying to expand its scope.
Where Kiss the Girls Lands
Kiss the Girls is a solid thriller that benefits from two excellent performances and a pulse-pounding climax. It is not a masterpiece, but it is a well-made entertainment that knows exactly what it is doing. The film’s flaws are real, but they are outweighed by the chemistry between Freeman and Judd, and by the genuine fear it generates in its quieter moments.
The film’s tagline sums up its approach: “Smart girls. Pretty girls. Missing girls.” It is a film about power, about what happens when the powerful take what they want, and about the people who refuse to be broken. It is not subtle, and it is not subtle, but it is effective.
The film’s score is 6.5 out of 10, a fair mark for a movie that is consistently good but rarely great.
Key Facts
- Title: Kiss the Girls
- Year: 1997
- Director: Gary Fleder
- Writer: David Klass
- Runtime: 115 minutes
- Score: 6.5/10
The film is worth watching for Freeman and Judd alone, and for the chase scenes that make it memorable. It is a solid entry in a crowded genre, and it earns its place alongside other thrillers of its era. It is not a film to remember for its innovation, but it is a film to remember for its execution.
6.5 of 10.
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