What a beautiful movie!

ridiculous rating

This is a tender, generous movie that likes its characters and presents them as real people, full of flaws and strengths.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

I rather enjoyed the first RED LIPS movie, "Two Undercover Angels", despite its shortcomings, but "Kiss Me, Monster" is not just a step down, it's a high dive. This sequel is a totally incomprehensible collage of random scenes and makes its predecessor look like a model of narrative coherence and logical progression. What's more, the English dubbing is even worse this time, if that's conceivable. Even Janine Reynaud and Rosanna Yanni seem to have lost most of the spirit they had in the first movie. Besides Yanni's killer body, the film has very little going for it and it probably ranks as one of the worst spy entries of the 1960s. I give it 0.5 out of 4 stars.

The follow-up to TWO UNDERCOVER ANGELS (1967) is even less successful than its predecessor but, again, it's enjoyable enough along the way to be generally palatable. The plot of this one is even more nonsensical than that of the first film: as a matter of fact, in the featurette accompanying TWO UNDERCOVER ANGELS on the Blue Underground DVD, Franco himself calls it "surreal" and believes this to have been the reason why KISS ME MONSTER wasn't as popular as the original! Anyway, here we have sci-fi rather than horror elements - the creation of superhuman beings, which actually makes the film's very title a misnomer, but is also not all that different from the central idea of Franco's earlier Al Pereira adventure ATTACK OF THE ROBOTS (1966)! Besides, the leads themselves - Janine Reynaud and Rosanna Yanni - didn't seem quite as charming here: for one thing, they never get to wear the fetishistic "Red Lips" costume, despite going through an equal array of kitschy dresses throughout; neither are their occasional asides to the audience in the first film retained for the follow-up. Also, their essential roles have been exchanged this time around - in TWO UNDERCOVER ANGELS, Reynaud assumed the damsel-in-distress persona (being, basically, the brains of the outfit) whom blonde bimbo Yanni managed to rescue in the nick of time; the latter is now the one who suffers the indignity of being drugged and abducted, while the former does the bailing-out! The remaining cast members are virtually the same as in TWO UNDERCOVER ANGELS (including another cameo by Franco himself), but mostly playing new roles: Adrian Hoven turns heroic for this one, whereas Michel Lemoine has graduated from monster assistant to mad scientist. Once again, the English-language soundtrack provides some truly cringe-worthy moments - such as the awful dubbing of the songs warbled on guitar by a couple of old Spaniards.Let us now take a look at the alternate Spanish version: as can be deduced from the previous comments, the film is much better served by the Spanish dialogue. With respect to the editing, it's generally better than in EL CASO DE LAS DOS BELLEZAS: the re-arranging of scenes here is never quite as jarring as in the previous film; there is, however, one notable mistake - with the apparent utilization of a different take in the Spanish variant during the scene in which Reynaud saves Yanni from the villains' clutches, wherein one of these is shot dead by her in the U.S. version but not the Spanish...only to show his lifeless body slumped on the sofa seconds later! Likewise, the alternate music score (again by Fernando Garcia Morcillo) suits the sequel better than the first film, given the lesser emphasis on pop-art references this time around in order to make way for an exploration into ancient Spanish culture - what with a subplot involving a secret society of Klansmen types and the "McGuffin" in the film, the all-important red case, concealed inside a windmill whose key resides in the notes on a sheet of music.The silly opening sequence to the U.S. version has been dropped (but, then, the use of a different credit sequence for the Spanish print means that an effective transition from black-and-white into color had to be sacrificed as well - since a character in the film is named Vittorio Freda, which I assume to be a nod to Italian cult film-makers Vittorio Cottafavi and Riccardo Freda, it's possible that this gimmick was borrowed from the former's THE HUNDRED HORSEMEN [1964]); gone, too, is an endless and irrelevant go-go number. The new footage includes some additional scenes in which the "Red Lips" duo are seen interacting with the police, as they recount to them the events of the film in flashback - but there's also one murder (with the body inexplicably dumped in the heroines' bedroom) missing from the U.S. version, while the developed relationship in the Spanish print between two secondary characters helps to better delineate their individual loyalties. Besides, in spite of my limited understanding of the Spanish language, I caught a number of witty lines which were changed for the U.S. variant (including an amusing reference to Franco's own recurring creation Dr. Orloff!). The English-language version, however, does feature a few seconds of unconvincing gore not found in the Spanish counterpart.With regards to the Blue Underground DVD itself, here too the transfer does justice to the film's colorful visuals; the Spanish version, however, wasn't up to the level of EL CASO DE LAS DOS BELLEZAS - for one thing, it seemed to be culled from two different prints, as the Aspect Ratio kept alternating (sometimes in the same scene!) between 1.66:1 and Full-Frame. The Jess Franco interview on the Blue Underground disc wasn't focused on the film proper but rather a rambling piece (albeit fascinating as ever) about various topics - the relationship between psychedelia and drugs and that between censorship and pornography; he even talks at length about his decidedly singular association with Orson Welles.

Anyone with a super-8 camera (with bad dub added later), various luxurious sets, several tiny Euro-Convertibles, a few long-legged call-girls in mini-skirts, several cute college guys, and a few hours to blow, could have made this film, and probably done a better job.The story appears to be made up as they go. A team of "stewardess-like" knock-outs in cool (skin-tight) outfits are on to some spy stuff, people get murdered wherever they show up, all of which is handled with total calm and matter-of-factness. Oops, a man just got stabbed as he's giving a clue (I wish I had received a clue, but no such luck). One more dead, better get out our costumes and into something else. The mad scientists's wife is dead! Oh my! What now? On with the mindless plot, and on, and on, and on.This isn't "camp" it's TORTURE! Absolutely awful! Suddenly the films made by Edd Wood look like masterpieces. Give me "Refer Madness", "Pink Flamingos" or "Plan 9 From Outer Space". "Kiss Me Monster" all of a sudden has no equal as the absolute worst film ever made. I've seen a lot of movies, but this one needs to be pulverized and sent into Outer Space, it's THAT BAD!

When one of the first scene of a film contains the line, "Well, let me tell you the story about what happened," you know that you're in for a classic. This is that kind of classic. KISS ME MONSTER is a short, sometimes dull, and always sleazy film that makes you wish there were still drive-ins. How else could this have made it into theaters, except for maybe a few grindhouses.KISS ME MONSTER is a hodge-podge of cliches, lots of red herrings, and a plot that is practically indescribable. In fact, I'm not sure if there really is a plot, just a series of scenes that are excuses to show the two female leads in different stages of undress. The dialogue is ridiculous (to be fair, this may be the fault of the below-par dubbing), and the characters are mostly unlikable.But, in its own cynical yet silly way, the film has its charms. The blonde lead is very attractive, and she gives karate-chops, too. Plus, Jesus Franco, as cheap a director as he is, usually accomplishes come good photography. Plus, some of the jazz on the soundtrack is pretty good.I liked KISS ME MONSTER, but for all the wrong reasons. I laughed out-loud so many times, I kept wondering if it was supposed to be funny. Alas, I don't think so. If anyone can explain how the plot leads to the island with the mad scientist, please let me know. Because I was scratching my head the whole time...