Cleo McQueen could be set for another harrowing ordeal in Hollyoaks when the man who subjected her to years of abuse through her childhood could reappear in her life. Cleo is shaken to learn that Pete Buchanan is being released for the day from prison and, as she reels from the thought of him being out, she makes a big decision.
Cleo seeks Brody’s help after getting the news but he is out of his depth to discuss this properly with her or know how to handle it. As Cleo feels supported, she seeks solace in bingeing on food as her bulimia condition takes a grip of her.
With Brody not standing by to help, Cleo does some research and discovers the address of where Pete will be visiting on his day release.
Deciding that she needs to go and visit Pete, Cleo heads off on a mission but when a worried Brody discovers her plans, he heads to share the news with Joel Dexter.
Joel leaps into action and rushes to the rescue and Cleo is overwhelmed when he stops her from doing something stupid. Grateful for his support, Cleo tries to kiss him but this just sets into motion another chain of events.
With Sienna Blake determined to keep a hold of Joel for herself, the two women are soon at loggerheads and go to war with one another for Joel’s affections.
But where does Joel’s heart lie?
One to watch: Monday 12th February at 7pm on E4.
‘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.