Pat Phelan’s sinister murder secret could be about to be exposed as Luke Britton does some digging that could expose the bodies of Andy Carver and Vinny Ashford in Coronation Street.
Viewers watched with horror as Phelan forced captive Andy to gun down Vinny before then turning the weapon on him and finishing him off. Having executed the crimes at an old mill, Phelan then dumped the bodies in a nearby lake.
Luke recently became suspicious of Andy’s whereabouts but Phelan intervened and bribed someone to put Luke off the scent. However, when Luke spots one of Andy’s wire models at the cab office, Eileen explains that she found it at a house that Phelan was working on.
Luke calls Matt and presses him for answers, doubting the story that Andy is backpacking in Belize and arranges to meet him in town. Luke arrives early to find that Phelan is in deep conversation with Matt and smells a rat.
When Luke confronts Matt, the man admits that he has no idea who Andy is and Phelan invented the whole story about the backpacking trip. As Luke angrily heads to the development site at the mill where Andy died, he wants answers from a shaken Phelan.
Luke resolves to report Phelan to the police but Phelan is forced to take action, hitting Luke over the head with a rock. But as Luke manages to escape, will he bring the builder to justice?
Or, with Phelan in close pursuit, is this the end for him?
One to watch: Friday 5th January at 7:30pm on ITV.
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‘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.”
“Antebellum” should add to that discussion, so mission accomplished on that level. Monae is also quite good in her first leading film role (she did previously star in the series “Homecoming’s” second season), but otherwise, most of the characters remain underdeveloped.