Kiss or Kill doesn't break any new ground. It moves Al and Nikki from place to place one jump ahead of their pursuers. And it does what noir commonly does; namely, it turns the criminals on each other. The spin here is that even though Al and Nikki are bad and even though they start suspecting each other of worse things than either is guilty of, they keep on loving each other. That both fuels their potential redemption and keeps them from just running off in opposite directions.

Occasionally Bennett gases his plot by having Al and Nikki behave in stupid ways. They throw the dead man's wallet and credit cards out the window of their fleeing car, for instance, thereby leaving a trail the cops can follow. And Bennett employs that aggravating jump-cut style of editing that was hip when Jean-Luc Godard did it four decades ago in Breathless and which shouldn't have been employed even once since then. It's cheaper, no doubt, but it sure is annoying.