Films
EastEnders Christmas spoilers: Gun horror for Mick Carter as Aidan Maguire takes a shocking revenge
(Picture: BBC)
Mick Carter faces a Christmas and New Year to remember as Aidan Maguire well and trul..
Mick Carter faces a Christmas and New Year to remember as Aidan Maguire well and truly has him trapped in EastEnders. Mick has determined to go straight and not participate in the murky and criminal job that Aidan has on the go but when Aidan decides not to let him away with it, major trouble ensues. And the consequences could be deadly…
After Mick’s rejection of the plot, Aidan heads to the Vic and leaves a secret gift which he later reveals to the shocked landlord is a gun.
Mick is meant to be enjoying his vow renewals with Linda on Christmas Day but Aidan’s warning that he has hidden the firearm and alerted the police sets him off in a panic that he will be starting 2018 behind bars.
Mick had pledged to put the horrific year faced by his family behind them all and start afresh – even if that is away from Walford. But Aidan soon proves himself as a man not to be crossed.
Mick faces a race against time to find the gun and hide it from the police, all the while hiding the truth from Linda.
After the tough lesson taught to him by Aidan, Mick faces a strenuous decision as Linda agonises over losing their home and business.
With Aidan vowing that the big job will clear up all of Mick’s financial problems, save the Vic and then some, he decides to go for it – but the plan could have deadly consequences.
As Mick makes it to his position in time despite efforts from Shirley to stop him, the job falls apart in spectacular fashion.
With Aidan clutching a gun, will someone pay a heavier price than anticipated?
One to watch: Christmas Day
The post EastEnders Christmas spoilers: Gun horror for Mick Carter as Aidan Maguire takes a shocking revenge appeared first on News Wire Now.
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.”
