Le collectionneur

This suspense thriller is every bit as good as James Patterson's fine novel and has great chemistry between Morgan Freeman and Ashley Judd. The sole plot is Freeman's search for two serial kidnappers and killers who snatch beautiful and accomplished young women, including Freeman's niece. The two killers try to outdo each other as they seize and destroy their trophy captives. As with most mysteries, this one has the usual red herrings, false leads and dead ends. Freeman is excellent as Alex Cross and heroine Judd is a study in grit and survival and is very effective in a finely nuanced role. The supporting cast is also great in a movie that has a leisurely pace and several great action scenes as it peaks towards its conclusion. The North Carolina location lensing, music score and cinematography are all very good.

A devilish maniac is on the loose, kidnapping beautiful women left and right. Many of his unfortunate victims who do not comply to his sadistic demands end up being tortured...and killed. Dr. Jack Cross (Morgan Freeman) is an insightful psychologist working for the police department. He has been hired to investigate a peculiar pattern of apparently random abductions of young, nubile women. Cross fails to secure any leads until his battle with the infamous abductor turns personal. The detective's niece has recently became the latest victim to this psychotic's premeditated schemes...

Calling himself "Casanova," this misogynistic serial murderer is alluring, charming...and equally mentally destructive...

Cross's only assistant is a beautiful and intelligent doctor (Ashley Judd). Another police detective (Cary Elwes) is also chasing after the kidnapper. With no clue or leads for unmasking this elusive stalker, the police with the help from the doctor must find a clever way to unlocking his secrets. As time becomes of the essence and the night takes over, Cross and the doctor rush desperately to seek out the lost souls who are under duress into becoming the fiend's prisoners...

KISS THE GIRLS is a perversely provocative thriller with such stunning photography. The moody atmosphere truly enraptures the viewer into a dark nightmarish world. The lightning is sometimes incomprehensible for the picture, but this fault adds to the disturbing effect of the movie itself. KISS THE GIRLS is a great mystery, with the individual clues and seemingly isolated events carefully stitched together to create one whole puzzle that may just serve as the tip of the iceberg.

Thanks to a seductively morbid tone, the film keeps the viewer fascinated throughout the length of the flick. KISS THE GIRLS is a sophisticated horror show since the audience never knows who the real killer may be. Even so, there is always more to the background scenery then what the eyes are allowed to see. The viewer must always eavesdrop when the leads interact with each other on screen...

Deliciously diabolical! The performances from KISS THE GIRLS are first rate. Ashley Judd is riveting as a kick-boxing doctor whose strong willpower can make her an appropriate inspiration and role model for young females. Morgan Freeman establishes more integrity as a forensics psychologist, determined to track down his kidnapped niece. The main scoundrel, whoever his real name may be, is one of the most unique villains ever to embrace the screen. His characteristics were wisely shot in a series of bleak, unrelenting shots so that the moviegoer may get a glimpse of his cryptic face, yet, they can not spill the beans as to find out who he really is.

KISS THE GIRLS is a startling movie with an array of scares and plot twists to keep you interested plus a decent pace to keep the story-line moving.

RATING: **1/2 out of ****.

Cary Elwes does an incredible job as Nick Ruskin. He acts with perfect emotion for every particular scene and brings a unique feel to the character portrayed in the book. Elwes does superb acting in this film, and really displays his range. After reading the novel, I was surprised by Freemans casting. He impressed me with his comittment to the character, however, during the film he seemed over-dramatic taking away from the realism of the story (what makes the film and novel so terrorizing). Ashley Judd played Kate McTieran well and portrayed Pattersons heroine with the courage and bravery expected. Where the movie falls short is in the script. The adaptation leaves out numerous key elements to the story. What makes the plot so riveting is the psychological trauma Cassanova and the Gentleman caller force onto their captives. With brief scenes portraying the womens captivity, they film takes away from the character development of the murderers and focuses too heavily on superfluous tidbits not necessary to the story. If you are seeking a true thriller, you may want to choose another movie. Although the film is entertaining and the acting decent, the novel is much better and the thriller genre is better utilized in other films.

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.

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.