From the opening Kiss Me Quick, their vocals puddle mellifluously, often reducing lyrics to a blur.
The elaborate slurp of the opening kiss, the wacky walks, lonely 23-year-old Mariana (Ariane Labed) and her dad, Spyros (Vangelis Mourikis) pretending to be gorillas on their hotel bed: there's moments in Attenberg that are kooky, quirky and all the other labels that director Athina Rachel Tsangari hates.
You could see it in Beyond the Lighted Stage, when the band and their crew – and Gene Simmons – remember Rush opening for Kiss across North America in the mid-70s.
There was an element of quiet subversion, too, when the Scots-American actor John Barrowman, during the opening number, kissed another man during a tribute to Gretna Green.
Instead, in the lead up to the film, I read countless interviews about Davis and Liam Neeson's on-screen interracial relationship and opening-scene kiss, as if this alone were proof of the film's groundbreaking appeal.
But this is the wheelhouse of the mayor of a modern megacity: a strange balance between issues of global importance and fripperies like openings, baby-kissing tours and pie-eating contests – and if you happen to be Boris Johnson, performing the Mobot from time to time.
There was his father, ripping into the opening bars of "Kiss My Glock," shooting rifles with Anthony Bourdain, and telling then Presidential candidate Barack Obama to "suck on one of these" — a pair of machine guns.
According to the couple, theirs is the 12-digit number that features in the opening lines of Kiss Me Thru the Phone, which reached No 6 in the UK charts in May.
Near the end of "Professional," the opening song on "Kiss Land," his major-label debut album, he turns directly to the stripper he's serenading cum psychoanalyzing and asks: "How'd you drain all the soul from your eyes?/How'd you teach, teach yourself how to smile?" He has never sounded more tender.
The young men in the bittersweet Italian comedy "The Last Kiss" (opening on August 16th) could be described as the latest version of the buffoons in Fellini's early masterpiece "I Vitelloni" (1953) — spoiled children pushing thirty who are not much given to productive labor but are easily excited by fantasies and dreams.
Near the opening of her "Kiss My Brass" tour, she took aim at Christina Aguilera and the new generation of "slut -dressing pop slut -dressingwn, typopal expenstars
