Word: hooks
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Perhaps the main problem with "Mrs. Doubtfire,"then, lies in the fact that Williams' creation isso much more believable and likable than Daniel orany of the other "real-life" characters. Daniel inparticular is merely a rehash of the innocent,boymen Williams played without success in "Hook"and "Toys." "Mrs. Doubtfire" provides some bellylaughs but fails to carry through on the seriousmessage about family and divorce it seeks toproject in its latter scenes. Luckily, theseattempts do not inhibit the movie's comic moments,and Williams' mastery carries through despite theemotional baggage imposed...
...heavyweight comes in his late 20s. Bowe, now 26, has the potential to be one of boxing's greatest. Standing 6 ft. 5 in. and weighing about 240 lbs. when he's in fighting trim, he towers over most competitors. He has a quick jab, a good hook and knockout power in each large fist. And while he can't dance the way Ali could, he moves with agility for a big man. "Many have compared me to the Greatest: Ali," he says. "But I hit like a truck. He just stung like...
...guitars, just an accordion and a bass: the vocal melody does all the work. "Gleaner (The Deeds of Fertile Jim)" uses a deadpan strum not unlike the one perfected by college-radio heroes Sebadoh (whose "Brand New Love" the knowing lyrics quote). "Exit Flagger" rides a pushmepullyou-like hook to the chorus, where it suddenly gains a kick more powerful than your average well-trained racehorse (About those titles: main guy Robert Pollard has said that before recording sessions, the band makes up a long list of weird titles, then tires to write a song to match each...
More than 1,000 guests, both alumni and non-alumni, will be invited to the event, Green said. He said the University is exploring ways to involve other alumni "by electronic means," possibly including closed-circuit television hook-ups at Harvard clubs around the country...
...highways of America, John Mellencamp has hitched his muse to the hopes and broken dreams of the heartland. Even before the mid-'80s, when he renounced the pop artifice of his John Cougar past and took back his given name, he had found his calling as a spinner of hook-laden odes to the ordinary man. Early hits that hinted at the darker dimensions of suburbia, like Jack and Diane and Pink Houses, sold millions and made Mellencamp an MTV star. On later albums, like Scarecrow (1985) and The Lonesome Jubilee (1987), he used electric violin and accordion to evoke...