Riverdale Season 2 followed the drama of The Black Hood; a serial killer out to cleanse the town of corruption, greed and sin. While the season started off strong with a griping mystery, it had a few missteps along the way that could've derailed the momentum. But did the first batch of episodes work overall?
We're taking a look back and breaking down the first nine episodes of Riverdale Season 2. What worked, what didn't work, and what absolutely needs to be fixed when Riverdale returns in 2018.
Check out the midseason report below! And don't forget, you can watch Riverdale online via TV Fanatic to get caught up on all the past drama.
1. Best Twist: The Black Hood's attacks The mystery of The Black Hood started so
10 Things You Didn’t Know about the Movie “Nighthawks”
Archie begins to feel targeted while Veronica and Jughead deal with family issues in a largely expositionary episode...
This review contains spoilers.
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Oh man. That ending. Wow.
Before I tackle that shocking final scene, let's go back to the beginning. The start of this week's instalment is a seemingly simpler (though still kind of shitty) time for Archie and the gang compared to where we are when the credits roll. As the episode opens, Jughead's narration informs us that Pop Tate's Chok'lit Shoppe is the "heart of Riverdale." And indeed it may very well be. In fact, the main reason that Betty makes saving Pop's into her crusade du jour
Movie Reboot Ideas I Can Get Behind: “Nighthawks”
Of course, we all know about Kurt Russell's epic run of action and sci-fi during this same period (starting with Escape from New York and ending with Stargate). It's arguable who's the better actor, but you have to give Stallone the edge for cultural impact during the 80s and early 90s.
You can go ahead and sheathe your Tweets, we are well aware that 1987’s Over the Top is a flawed piece of cinema. It’s called Over the Top for crying out loud; if ever the writing was on the wall. However, there is something about this spectacular failed attempt to take the sport of armwrestling mainstream that continues to delight and inspire this writer and the other hosts of the Junkfood Cinema podcast. If you currently sneer at “that movie where Sylvester Stallone armwrestles for custody of his son,” allow me to offer an argument in favor of Over the Top. Look, just read it, ok? Meet me halfway.
While the popular logline for Over the Top is not entirely accurate, it’s unquestionable that it is a silly movie. Truckers getting their faces smacked before armwrestling each other in sweaty diner back
[Read the whole post on screenanarchy.com...]
Producer Hawk Koch, who worked with him on five films, said “Paul was one of a kind. He was as smart and well-read as anyone I have ever come in contact with, and he was respected by all that knew him. Aside from the work, he loved music, literature, opera, and friends.”
Sylbert shared shared a second nomination for the 1991 Barbra Streisand film “The Prince of Tides.”
He was the identical twin brother of fellow production designer Richard Sylbert, who died in 2002.
Paul Sylbert’s career began with a production designer credit on an early TV show, CBS’ “Premiere,” in 1951 and work as a set decorator on the CBS series “Suspense” the following year and stretched through
In 1920s Boston, East Coast debutante Catharine Robb (newcomer Julie Lynn Mortensen) is dating the most eligible bachelor in the world, John D. Rockefeller III. Her future seems set: a dream life in the upper echelons of society. But Catherine finds her careful plans upended when she meets a young painter, Peter Whyte (Juan Riedinger), from one of the most beautiful places on Earth, the Canadian Rocky Mountains. Although their worlds are polar opposites, a mutual love of art draws them together. They soon face a universal question: Can you find “home” in another person? Inspired by the true story of the central couple,
“Sylvester Stallone’s performance in Creed has reminded us of what a true talent he is and what a joy it is to share in his successes as the many beloved characters he has created. Since he first hit the silver screen as Rocky Balboa nearly four decades ago, he has been a force in the industry both on film and behind the scenes. He is a true legend in our field, and it is our privilege to present him with the Montecito Award, and to continue to honor his legacy,
It feels like now – more than ever before – sequels have become the dominant form of life on Earth. They rule the release schedules of major studios, and they tend to make the most money at the box office; this might be good for business, but it doesn’t speak highly of their ability to come up with fresh ideas.
Sequels are regularly slammed for their inbuilt lack of originality, so it’s a surprise to learn that some “original” movies started out as follow-ups to something else. The reasons for this are varied; maybe the actors refused to come back for a sequel, but the studio felt the concept was strong enough to merit a movie anyway. Or maybe the story didn’t work as a sequel, so it was reworked into something else. In some cases the movie’s sequel origins are plain to see; and
If you’re above a certain age, Sylvester Stallone is more than an icon, he is an inspiration. The real-life backstory of Rocky is just as mesmerizing as the film itself, as a struggling actor refused to sell his script unless he was able to star as The Italian Stallion. The rest of his history is also ours.
Strolling through the private preview in Manhattan was a tour through my own recollections, as well as Stallone’s filmography. Over 750 props, costumes and personal items will be offered. Boxing gloves, trunks, robes, and the original handwritten script are up for sale, as well as the ball Rocky plays with as he walked through the streets of Philadelphia.
Rambo’s field jacket, machete and Bowie knife, as well as a set of costumes, prop armour and gun from Judge Dredd are on the block. You can also buy pieces
There are spoilers within for Predator, Terminator 2, Cobra, the Rambo and Rocky films, and Big Momma's House 2 (just seeing if you're paying attention there).
Sylvester Stallone and Arnold Schwarzenegger. At a certain point, you cannot think of one without the other. Action icons of the 80s, they are as synonymous with 80spop culture as the side ponytail, hair metal and New Coke. For action fans they are yin and yang, the flip sides of the same sweaty bicep. While they bear some superficial similarities, their star personas are actually quite different.
Stallone - The Underdog
Though he boasts a bulky physique comparable to the former Mr Universe, the essence of Stallone’s appeal is that he is inherently an underdog — this is why he is perfect for Rocky Balboa, and miscast in Cobra and Judge Dredd.
Following the break-up of Emerson, Lake and Palmer at the end of the 1970s, Keith Emerson ventured into the world of film soundtrack composition with his score for Italian director Dario Aregento’s horror film Inferno in 1980. This, in turn, led to Emerson being commissioned to compose and perform the music for the Sylvester Stallone film Nighthawks in 1981. From here a succession of film scores were to follow for directors in Italy, Japan and the United States. At the Movies gathers together Emerson’s music for seven movies including Nighthawks, Best Revenge, Inferno, La Chiesa (The Church), "Muderock, Harmagedon and Godzilla Final Wars.
Disc One (Us Movies) contains 2 full soundtracks. Firstly, there is Nighthawks (1981) an enjoyable cop thriller from Sylvester Stallone. The movie co-starred Billy Dee Williams as Stallone’s partner, Lindsey Wagner (of TVs Bionic Woman fame) as the love interest and Rutger Hauer as terrorist Heymar Reinhardt.
With Escape Plan out today, we look back at the strange prominence of prisons in Sylvester Stallone movies...
In his blockbuster movies, Tom Cruise likes to ride motorcycles and run with his fingers outstretched. Jean-Claude Van Damme likes to wear tight lycra and do the splits a lot. Arnold Schwarzenegger likes to make that sort of guttural "graargh" noise when he gets into fights.
Sylvester Stallone, on the other hand, has his own set of interests and habits. He likes to fire machine guns one-handed, scream while flying helicopters, and making a "hurgh!" noise when he does something athletic. Also, he has a tendency to star in films that involve prisons.
Now, admittedly, Stallone's appeared in lots of films where there's no sign of jail cells, sadistic prison wardens or metal trays with hideous food piled up on them. But then again, he has appeared in these.
We’ll now take a look at the greatest film villains of the 1980’s.
The criteria for this article is the same as my previous article Cinema’s Greatest Villains: The 1970’s: the villains must be from live-action films-no animated features-and must pose some type of direct or indirect lethal threat. The villains can be either individuals or small groups that act as one unit.
The villains must be human or human in appearance, so no shape-shifting alien from John Carpenter’s amazing 1982 The Thing, no Aliens from James Cameron’s classic 1986 sequel and no Predator from John McTiernan’s beloved 1987 film of the same name.
Also, individuals that are the central protagonists/antiheroes
Rutger Hauer’s career has seen him star in an eclectic mix of both films and roles. He’s done art house, independent, blockbusters, and low grade b(z)movies. He’s plied his trade in Hollywood, and European cinema and filmed all over the world. He’s done just about every genre. He’s the leading man, he’s the villain. He’s the hero, the anti-hero and he’s played a vampire more times than most people have had hot dinners. There is always one consistent, which is that Rutger Hauer is cool. He can steal a good movie from under the nose of established stars, most infamously in Blade Runner, and also out shining Sylvester Stallone in Nighthawks. He can also elevate a lot of the B-grade material he’s appeared in.
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