Film

Kiss the Girls and Make Them Die

Name: Kiss the Girls and Make Them Die
Genre: Action, Comedy
Released: 1966
Cast: Mike Connors, Dorothy Provine, Raf Vallone, Terry-Thomas, Margaret Lee

A 1966 spy-comedy spoof where a CIA agent and British spy team up in Rio to stop a megalomaniac industrialist's plan to sterilize the world. It's campy, colorful, and deliberately silly—built for audiences who loved the absurdist playfulness of 60s genre comedies but want something genuinely weird.

If you liked this

Our Man Flint1966

Released the same year, it perfects the spy-comedy formula with James Coburn as an ultra-smooth agent battling a world-domination plot. Witty, glamorous, and knows exactly how ridiculous it is.

But The plot is paper-thin and the humor relies heavily on dated gender dynamics that haven't aged well.

The Italian Job2003

Another heist-adjacent caper with an ensemble cast, real locations, and that perfect blend of action, humor, and style. It has the same DNA—fun first, logic second.

But Grittier and less fantastical; if you wanted wackier, this is the wrong pivot.

Barbarella1968

Jane Fonda in a bonkers sci-fi comedy with apocalyptic stakes, absurd production design, and a refusal to take itself seriously. Peak 60s camp energy, genuinely inventive visuals.

But The gender politics are truly retrograde, even by 1968 standards, and the pacing gets slack in the middle.

Not sure tonight? Get a pick in a minute, starting from Kiss the Girls and Make Them Die

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Viva Maria!1965

Both treat plot as scaffolding for spectacle and humor; reality is what you can make the audience believe in the moment, and coherence is optional.

Brigitte Bardot and Claudia Cardinale in a film about two con artists causing anarchic chaos. Same playful contempt for plot logic, same gorgeous color photography, same everything-is-a-game energy.

But French language; some sequences drag and the satire is broad to the point of shapelessness.

The Man from U.N.C.L.E.1964

A TV spy-comedy that mastered the tonal balance—plots are camp but execution is polished, the chemistry crackles, and it had genuine influence on how spy comedies got made.

But It's episodic; you're committing to a series, and some episodes lean too hard on earnestness.

Johnny English2003

Rowan Atkinson as a bumbling spy in a film that understands you can be silly and still deliver clever set pieces. Direct spiritual descendant of 60s spy-spoofs but with modern craft.

But Relies on physical comedy and slapstick, which won't land if that's not your language.

That Man from Rio1964

A French-Italian caper with Jean-Paul Belmondo and wild location shooting across continents. Joyful, inventive action-comedy with genuine thrills underneath the playfulness.

But Subtitled, and the plot gets convoluted; you have to stay sharp.

Modesty Blaise1966

Released the same year, another spy-action spoof with a female lead, gatefold art design, and the sense that everyone on set was having the time of their lives making something weird.

But Wildly uneven in tone; some scenes land and others crash hard.

In Like Flint1967

The sequel to Our Man Flint, doubling down on absurdism with a plot involving mind control and secret societies. Even more outlandish, even more fun.

But Thinner than the first film; novelty is the entire appeal, so it depends if you're still amused.

The Spy Who Came In from the Cold1965

If you want to see what serious spy fiction looked like when comedy spoofs were emerging—bleak, grounded, adult. A useful contrast to understand why the spoofs were so necessary.

But Slow, grim, and entirely humorless; it's a different animal entirely.

The Spy Who Came In from the Cold poster

Casino Royale1967

Both use spy-genre conventions as permission to be surreal; plot is decoration, atmosphere is the story.

The chaotic, meta Bond spoof with five directors, an all-star cast, and a complete surrender to absurdism. It's a three-ring circus where nothing makes sense and that's the entire point.

But Genuinely confusing and deliberately shapeless; some viewers will feel deliberately trolled rather than entertained.

Danger: Diabolik1968

Both prioritize visual style and atmosphere over plot coherence; the world-building and production design carry what the script leaves vague.

Italian pulp done with deadpan style, a supervillain in a lair, technicolor excess, and zero interest in realism. Pure visual storytelling—the aesthetics ARE the content.

But No irony, barely any dialogue, and the narrative is tissue-thin. If you need story momentum, this will feel glacial.