Films
EastEnders 2018 spoilers: Mick Carter shot as Aidan Maguire’s big plan ends in disaster?
(Picture: BBC)
Mick Carter’s life could be set to hang in the balance in EastEnders as the criminal ..
Mick Carter’s life could be set to hang in the balance in EastEnders as the criminal job led by Aidan Maguire goes pear-shaped – with major consequences for the main players. For weeks, Aidan has been putting the finishing touches to the big job, supported by Phil Mitchell, Vincent Hubbard, Keanu Taylor and an indecisive Mick.
Mick had been in two minds about whether to go along with it – but when Aidan made it clear that he is not to be messed with, Mick was given food for thought. Combining the intimidation from Aidan and Linda’s despair over leaving the area, Mick agrees to get back on board and as 2018 beckons, the men put their plan into action.
However, Shirley soon gets wind of what her son is risking and prepares to lob a spanner in the works. Making a bold decision, Shirley takes drastic action which prevents Mick from being at his position and when he is a no show, Aidan is furious and grabs a gun, ready to sort things out.
A turn of events sees Mick heading to his spot after all but will Aidan realise as he marches off to confront Shirley over his whereabouts? When the job gets underway at last, all appears to be going well – until Masood Ahmed interrupts innocently to introduce his aunt and uncle, Mariam and Arshad.
With things starting to fall apart, the pressure mounts and as Shirley and Linda race to find Mick, disaster soon strikes. And with a gun involved, could someone be about to end up shot? With it being teased repeatedly that Mick will really end up regretting ever crossing paths with Aidan, might he be in the firing line?
In the wake of the episode, we are sworn to secrecy over what follows but Linda is left fearing for the future and cryptic plotlines suggest a fallout and an aftermath that may be just as dramatic as the big plot itself…
One to watch: New Year’s Day at 8pm on BBC One.
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Films
‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”
