1997’s Kiss the Girls is the first of two movies adapted from James Patterson‘s novels starring Morgan Freeman as forensic psychologist Alex Cross. The plot follows Cross attempting to locate a kidnapper and serial killer known as Casanova who has just added Alex’s niece (Gina Ravera) to his collection. Alex’s biggest asset is Kate (Ashley Judd), one of Casanova’s earlier victims and the only one who managed to escape her captivity.
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This is a deeply stupid movie. 97 Minutes overs a braindead plot from screenwriter Pavan Grover involving a hijacked 767 on its way to Washington D.C. with a nuclear device onboard. It also happens to have an undercover Interpol agent who has infiltrated the hijackers and is the only one capable of preventing an attack on U.S. soil.
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Both a critical and box office failure, writer/director Vaughn Stein‘s stylish neo-noir thriller is more notable for the look of the film than anything else. The convoluted plot, which relies on two late twists and extended monologuing to the audience in the final ten minutes to tie the disparate threads of the story together, involves a cast of characters including a waitress (Margot Robbie), English teacher (Simon Pegg), and pair of assassins (Max Irons and Dexter Fletcher) who keep coming back to a rundown train station for reasons even they don’t understand.
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This low-budget sci-fi thriller stars Jose Adam Alvarez as a man struggling to get over the break-up with his girlfriend (Kylee Michael). Prompted by a friend (Quentin Boyer), he contacts a company offering the use of a cleaning sexbot he names Mako (Faith West) designed to provide for his every need. Although unsure how much the service costs, and ignoring red flags, it doesn’t take long for our lonely white male to become addicted to the service.
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Dianna Agron, who stars as a successful woman in her late 30s who has never wanted to have children and enrolls in a clinical study with a doctor (Melora Hardin) who claims to be able to jumpstart her biological clock, is by far the best thing about writer/director Alexis Jacknow‘s Clock. Ella (Agron) doesn’t want children, but pressured by family and friends she feels the need to want to want children leading her to secretly enroll in the study that has unintended side effects which lead to her increasingly erratic behavior.
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