...Denn zum küssen sind sie da

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.

Kiss the Girls (1997)

Not a bad film, "entertaining" in the sense of sitting back and watching an episode of Bones or CSI. It has more development and higher production values, I guess, than television, but really it is a routine film hardly worth thinking too hard about.

Ashley Judd and Morgan Freeman have been together for three movies, and they work together well. I'm not sure I see any special chemistry there, and for my money, it's a Morgan Freeman film. He plays a Forensic Psychologist and is all business, not swayed by stupidity. Judd plays a victim at first, and then in an unlikely twist, joins the investigation. The plot is frankly a little predictable, and you keep thinking there will be this giant twist, but there isn't. You simply don't know exactly who the perp is.

Ah, well, it propels itself all the same, a fun distraction.

Pretty good thriller. Lots of twists and turns to keep your attention. Great performances from Ashley Judd and Morgan Freeman. The story is Washington DC detective Dr. Alex Cross (Morgan Freeman) travels to North Carolina to investigate the apparent kidnapping of his niece (Gina Ravera). Aided by escaped kidnapee Kate McTiernan (Ashley Judd), Cross hunts down the kidnapper, who operates under the pseudonym "Cassanova". Pretty good watch, nice performance by casanova all up a good movie.

I didn't really know much about this movie when I saw that it was coming on HBO. I just decided "what the hell" and watched it. Besides, Morgan Freeman is one of my favorite actors. After a few minutes of KISS THE GIRLS, I was instantly glued to the television. It was pretty dark and very suspenseful, but I truly liked it.

Dr. Alex Cross (Morgan Freeman), a psychologist/detective from Washington DC is sent to investigate a man known as "Casanova", who is kidnapping, imprisoning and occasionally torturing and killing beautiful women. His niece is among one of the kidnapped. Along with the help of Kate Mctiernan, (Ashley Judd) who escaped from the maniac, and Detective Nick Ruskin (Cary Elwes), Cross sets out to find and stop the murderer.

The plot is fascinating and will most likely keep you on the edge of your seat and holding onto the arm of your chair. The acting jobs are very good too. Some parts are very dark and a little disturbing, but it often only helps the story line. Morgan Freeman, as usual, does a great job as the main character. Ashley Judd and Cary Elwes also did impressive performances.

The ending of this movie is pretty good and rather surprising. Go out and rent this whenever you're in the mood for a little suspense, you won't be disappointed.

Detective Alex Cross is an experienced, astute forensic psychologist. He's brought from D.C. to Durham to aid in the investigation of a slippery criminal mastermind with a track record for abducting young women who are both beautiful and talented. It becomes personal when one of the abductees is his niece, and he enlists local doctor and former victim Kate McTiernan (Judd) who escaped the same perpetrator and is the only living person who can identify him. Stylish, atmospheric, well-crafted thriller holds your interest, with some effective twists and strong performances from Freeman and Judd, but it builds to a climax that doesn't quite payoff. Still, a respectable showing for all those involved. **½