I like the idea of The Hangover a bit more than I liked the actual movie.
I love that a low-budget anarchic comedy starring three schlubby second-tier actors outperformed the new Terminator film on its opening weekend. I love that great word of mouth and the buzz of something unexpected and hilarious can overcome blockbuster inertia and surprise everyone.
It’s the same formula that made Wedding Crashers a $210 million sensation a few years back, nestled on the box office top ten between the more predictable King Kong and Batman Begins.
1986’s The Bridge was Billy Joel’s last great album and my fifth favorite of his albums (I’ll let you guess the other four). It contains only nine songs but they’re uniformly strong. The one minor exception is the rather maudlin ‘This is the Time,’ which probably wasn’t written for a high school prom but may as well have been.
My recent post about the
Joel followed up Nylon Curtain with one of his best-selling albums, the 50s flavored An Innocent Man. This is one of his slightest albums, most likely by design. The doo-wop ear candy of ‘The Longest Time’ and the cornball ‘Uptown Girl’ are about an inch deep, inspired by similar songs Joel loved as a kid.
The Nylon Curtain is one of Billy Joel’s most ambitious albums, and one of his best. Two years after the major success of the expectation-defying Glass Houses, Joel changed things up again, paying more attention than ever to the production values of his work and crafting an homage to his childhood heroes The Beatles.