the nomad 2022 movie review

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Film review: the nomad (2023).

Janel Spiegel 04/20/2023 Film Reviews

When a reporter filming a story about a serial killer targeting the city’s priests comes face to face with the killer, she must choose between turning him in and finishing the story … or directing him towards her abusive father and finishing

The Nomad was written and directed by Daniel Diosdado. This is wild. It opens with Aaron (Dietrich Teschner) on a shooting spree. He is calmly walking down the street in New York. I was able to interview Daniel, and he did verify the movie was filmed in New York, it’s a different look at New York. New York is front and center in The Nomad.

We meet Daneen (Vanessa Calderon) and Lance (John-Peter Cruz). They are getting ready, and they work together.

The music is light, it is ethereal, and everyone is sort in slow-motion, not a are in the world. Okay, so Aaron goes on another rampage at work. The world we live in can be beautiful, scary, wild, and intense. We meet Phil (Parish Bradley) and Angelina (Marianne Goodell). Phil is helping out Angelina, and Angelina’s daughter Leah (Lauren Biazzo) is a reporter. Angelina has a form of dementia. That is sad, it takes such a toll on people.

Aaron is looking for a place to stay, and he is unpleasant. He hands over an envelope full of money to the landlord. Daneen is upset, and she wants to find Aaron. Aaron hurt someone that Daneen loves. I won’t spoil it for anyone, watch the movie. They are made to be watched. Meanwhile, Aaron is on one hell of a horrific mission.

It’s so strange to see New York so bare, so empty. This film was made around the time of the pandemic. Aaron is killing priests and just causing all sorts of chaos. Leah is jumpy and she flashes back to childhood. Trauma is wild if you don’t try to heal. Therapy, learning new instruments, going for walks, finding some type of peace.

Leah is going through a lot, she has more flashbacks, nightmares, and she declines a dinner party her co-worker/friend is having. Meanwhile, Aaron is still on the loose, and this dude leaves his cell phone on. He shoots several people, gets an apartment, and leaves his phone on.

Leah is doing her report and talking about Father Charles (Walter Krochmal) who was killed. Leah is talking with Matt (Anthony Goss), and they are talking about life and coincidences. Matt also misses Leah, awwww, come on. This gets interesting. Daneen is out on her own looking for Aaron. Aaron is following another priest around, and Leah, LEAH is going to follow Aaron. How do people not know they are being followed.

Aaron follows Father James (John Weigand) and mind you Leah is following Aaron. She has a giant camera, and she is making unnecessary noise. That was a shitty move for Daneen to make.

So, Daneen wants to talk with Angelina about Leah. I have so many thoughts, and ideas about this movie. Also, people will really open their doors to anyone. You can say, USPS, Door Dash, Grubhub, or anyone, and people just buzz you in. Leah wants help from Aaron.

This is crazy, it took a deep twist. Leah thinks Aaron is some sort of killer with a list. Daneen is still trying to find Leah. Leah wants her father gone. Could we take a moment or fifty to talk about Parish Bradley, and what an amazing actor he is. It is so odd to see New York look so desolate.

What is happening? Leah is devastated about her mom. Angelina’s dementia or Alzheimer is slowly getting worse. Well, I think Leah broke like, six horror movie rules. (Randy do not watch this movie.) This movie just keeps hitting you in all the feels. I do not even want to watch it anymore. The music in this film is beautiful. It gives you a sense of there is something wrong but it is not overwhelming where it is constant. The cinematography is beautiful. This cast did an amazing job.

The winner for Best Producer at the LA Independent Film Festival

Awards 2022, The Nomad stars Lauren Biazzo (Law & Order: SVU,

Abuse of Power), Dietrich Teschner (Blue Bloods, Quantico), Vanessa

Calderón (Center of The Room, The Wicked Path), Anthony Goss (Law

& Order: SVU, Blue Bloods), and is written and directed by

internationally awarded Daniel Diosdado.

Make sure to check out THE NOMAD

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The Nomad (2023)

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When a reporter filming a story about a serial killer targeting the city’s priests comes face to face with the killer, she must choose between turning him in and finishing the story or directing him towards her abusive father and finishing her own.

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Nomadland review – Chloe Zhao’s triumphant ode to community

Zhao’s triple Oscar winner, inspired by the ‘new nomads’ of recession-hit America, eschews conflict in favour of quiet humanity

A ccepting her Oscar for best director last week, the Chinese film-maker Chloé Zhao remarked: “I have always found goodness in the people I met, everywhere I went in the world.” That sentiment runs throughout Zhao’s third feature, a gentle tone poem with western genre inflections, mining the rich seams of human kindness that run through the margins of society. It also chimes with Jessica Bruder’s 2017 source book , in which the author chronicles true tales of the “new nomads” who took to the road after their savings were “obliterated by the Great Recession”, and for whom, “as for anyone, survival isn’t enough … we require hope. And there is hope on the road.”

Frances McDormand is typically convincing as Fern – another indomitable outsider role in which she immerses herself completely, earning her third best actress Oscar. Recently widowed and cash-strapped, Fern decides to leave her longtime home town of Empire, Nevada following factory closures, and strike out on her own. Like a more adventurous Stateside relative of Maggie Smith’s Miss Shepherd in The Lady in the Van , Fern packs her life into a vehicle and heads off into an uncertain future. But rather than becoming hospitably marooned on a cramped driveway in Camden, McDormand’s pioneering spirit has the vast horizons of America ahead, with cinematographer Joshua James Richards capturing the harsh beauty of the midwestern states that have long been enshrined in movie lore.

At first, life on the road seems perilous and bleak, with inclement weather and cold economic realities giving Fern the chills. Yet she gradually discovers the warmth of America’s travelling community, helped by inspirational figures such as the charismatic Bob (Bob Wells), at whose communal desert rendezvous new life skills are passed around by those who are not “homeless” but simply “houseless”.

As with featured players Linda May and Charlene Swankie, Wells is a real-life van-dweller playing close to home. Building on the experiences of her previous films Songs My Brothers Taught Me and The Rider , Zhao here mixes seasoned performers like McDormand and David Strathairn with non-professionals, lending an air of documentary-style authenticity to the proceedings.

Since winning a Golden Lion at Venice in September 2020, Nomadland has been on an international winning streak, picking up top prizes at the Golden Globes, the Baftas, and finally the Oscars, where its trophies included best picture . Yet for a film so heavily garlanded with awards, what’s most striking about Nomadland is the almost incidental manner in which it tells its stories – eschewing strident dramatic crises or narrative lurches for something altogether more ambient.

Zhao may have cited “ What would Werner Herzog do? ” as her creative mantra, but there’s none of the raging chaos or cosmic disharmony of his work in her altogether more benign portraits of humanity. Indeed, one criticism lodged against Nomadland is that it fails to unearth a seething heart of darkness in the Amazon warehouses (or “fulfilment centres”) where Fern and her friends find seasonal work – a criticism sharpened by Amazon’s recent union-busting battles .

None of which is to suggest that Zhao’s America lacks light and shade. On the contrary, there’s a hardscrabble sense of ordinary ageing folk making the best of a bad deal in often desolate and unforgiving circumstances. Yet whatever hardships they face, it’s the air of community and self-determination that rings throughout Zhao’s empathic film. As I write this review, I’m listening to the Nomadland soundtrack album, on which pieces by Ludovico Einaudi and Nat King Cole sit alongside the raggedy campfire sounds of the ensemble cast joyously singing “We can’t wait to get in our vans again!” Unsurprisingly, it’s the last of these that strikes the most resonant chord.

Available on Disney+ ; in cinemas from 17 May

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Nomad Reviews

It really isn't my cup of tea.

Full Review | Original Score: 5/10 | Aug 25, 2008

Rent it as a suitable test for your new widescreen TV, but don't expect movie magic.

Full Review | Original Score: 2.5/5 | Oct 8, 2007

The film is stilted and lame. Worse, the acting is as grim as the story is primeval.

Full Review | Apr 27, 2007

Everything would be OK if the actors didn't open their mouths.

Full Review | Original Score: 1/4 | Apr 27, 2007

It embraces every clich in the epic-movie playbook, relies too heavily on stale dialogue delivered in somber tones and offers little to its actors besides the opportunity to fashion some great-looking Eurasian costumes.

Full Review | Original Score: 2/4 | Apr 27, 2007

The filmmakers don't appear to know what's important, let alone how to pace an epic for big drama and maximum thrills.

Kazakhstan supposedly spent $40 million in making this martial-arts epic. That bought a laughably corny Hollywood B-movie, gorgeous scenery, Hollywood B-actors and extras who plainly weren't members of the Screen Extras Guild.

Full Review | Original Score: 2/5 | Apr 26, 2007

Meant to be sweeping and inspirational, Nomad is instead lurching and laughable, with terrible writing, awkward acting and clueless direction.

Full Review | Original Score: 1/5 | Apr 13, 2007

It harks back to those sand-and-sandals epics of the 1950s and '60s, with an international cast speaking in awkwardly dubbed English.

Full Review | Original Score: 1.5/4 | Mar 30, 2007

The use of "idiot plotting" to advance the story makes this laughable when it should be poetic.

Full Review | Original Score: 2.3/5 | Mar 18, 2007

Despite the central Asian locale, the film is largely rooted in the conventions of the American westerns and good old Hollywood Biblical epics like The Ten Commandments, as well as many of their attendant clichs.

Full Review | Original Score: 2/4 | Mar 16, 2007

Though it has a familiar inevitability, the journey is generally compelling, thanks to fierce battles, a gorgeous landscape and heartfelt performances.

Full Review | Original Score: 2.5/4 | Mar 16, 2007

While the film has impressive 18th-century trappings and vivid battle scenes, the plotting and acting are rudimentary.

In the American-release version of the picture, the emphasis on spectacle and the paring away of all but the most essential exposition ends up having the opposite of its intended effect.

With commendable sincerity but also an unfortunate Hollywood veneer, Nomad is a poor man's Gladiator.

Full Review | Mar 13, 2007

A throwback to yeteryear's epics, Kazakhstan's official entry for the Foreign-Language Oscar is an old-fashioned actioner using real locales and extras rather than CGI effects; lack of unified vision may derive from too many directors behind the camera

Full Review | Original Score: C | Feb 5, 2007

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Perspective

Dystopias are so 2020. meet the new protopias that show a hopeful future.

Ari Wallach interviews Andrea Kritcher at Lawrence Livermore National Laboratory. BetterTomorrows/PBS hide caption

Ari Wallach interviews Andrea Kritcher at Lawrence Livermore National Laboratory.

Dystopias are on their way out. At least, that's the hope of Kathryn Murdoch.

The activist and philanthropist is married to James Murdoch, the liberal-leaning son of Rupert Murdoch, the founder of Fox News. She's also the executive producer of a TV show of her own. A Brief History of the Future premieres on PBS on April 3.

"The whole concept started, actually, when my daughter told me she didn't think there was any hope for the future," Murdoch told NPR. "And I was really upset by that, because I had been working on democracy and climate change issues for such a long time."

Murdoch has dedicated herself to environmental issues since 2006. She's served on the board of the Environmental Defense Fund and co-founded the Quadrivium Foundation, which funds "practical, evidence-based solutions for critical societal problems." She's well aware of the tremendous problems currently plaguing the planet, and she reassured her daughter that intelligent people are doing their diligent best to fix them.

"She still thought her future looked bleak," Murdoch said. "And I couldn't understand that. And she said, well, look at all the young adult books [that] are about dystopias. Look at the television shows. Look at the films. Everything about the future is dystopian."

It was hard not to concede the point. The cultural preoccupation with zombies shambles on in The Last of Us and other movies and video games. The Hunger Games and The Handmaid's Tale remain influential in fiction and on screen. Murdoch could not find a single YA show or book that portrayed a positive vision of the future, at least not a plausible one that didn't involve superheroes or dragons. "Really, the last time we dreamed about a better future was Star Trek ," she said. "It was 1964."

The Star Trek universe, she says, is a good example of a "protopia." She didn't make up the word. It was coined by futurist Kevin Kelly in his 2010 book, What Technology Wants . The idea is this: dystopias are horrible, and utopias are perfect (and therefore not feasible, and potentially also menacing and pre-dystopian.)

Protopias, on the other hand, are achievable. They present a realistic, better tomorrow. But even the protopian visions of more recent iterations of Star Trek , she notes, do not necessarily grapple with our most immediate crises.

"We don't have anything that's dealing with climate change, with democracy, with AI and all the problems and challenges that we have today." Murdoch says, adding that movies such as The Day After Tomorrow and Don't Look Up only serve to scare us about failing to save the planet. "We've done a less good job of showing what the world would be like if we do act."

Decades ago, movies imagined a futuristic 2022

So Murdoch co-founded Futurific Studios , which is focused on telling these stories. Its first production is the PBS series, hosted by the company's co-founder, futurist Ari Wallach.

In A Brief History of the Future , he travels the world to meet people finding solutions. Like Valérie Courtois , a Canadian expert in Aboriginal forestry, who works with other First Nation activists and the Canadian government to protect national parks. And Dutch entrepreneur Boyan Slat , who runs a non-profit organization called The Ocean Cleanup .

"We have interceptors now in 11 rivers in some of the most polluting rivers in the world and we believe we can stop most of the world's plastic emissions from leaking into the ocean," Slat explains in the show's second episode.

The series also features stories about training AI on the best of humanity, not the worst. A story about the cleanest waste-to-energy power plant, in Copenhagen. A U.S. company on the cutting edge of using virtual reality in healthcare. The common thread: innovation and hope.

"If you look at history, everything that we now take for granted used to be impossible at some point," Slat observes. "If there's one bit of advice that you should really ignore, is people saying that something can't be done."

But is it it possible, I asked Kathryn Murdoch, that PBS viewers are already receptive to the show's measured, evidence-based message? Wouldn't it be more productive for a Futurific production to end up, say, on Fox, where the audience is massive? What are the chances her series could be aired on the network started by her father-in-law?

Murdoch pointed out that PBS attracts a bipartisan audience, with nearly half in 2017 identifying as conservative . Plus, she added, the Murdoch family no longer owns most of the Fox entertainment assets. "So actually it would be Disney, and I think that would be great," she said.

What's next for Futurific, Murdoch says, is a series of graphic novels, a famously dystopian medium. After all, graphic novels were the original source of The Walking Dead . Perhaps eventually, Futurific's might also be adapted into protopian shows or video games. But it's not easy, Murdoch admits, to compete with the perverse allure of dystopian stories

"It's sort of thrilling to think of yourself as, 'Oh, I'm gonna be the lone survivor in the apocalypse but I think there's something to be said about civilization," she said with a laugh. "And I would like to see examples of people working together and cooperating and making a better future for my kids."

And becoming, as Ari Wallach puts it, the ancestors that our future desperately needs.

Edited for the web and radio by Rose Friedman.

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‘Coup de Chance’ Is Woody Allen’s Best Film in Years

'coup de chance' restores the masterful filmmaker to his deserved position as one of the screen’s most profound storytellers. .

Unfairly derailed by obvious, headline-demanding personal problems, Woody Allen ’s phenomenal career returns to where it should never have paused in the first place with this languidly paced but endlessly mesmerizing combination of domestic-crisis love story and suspense-layered murder mystery—his first (and best) film in years. Set in the upper-class echelons of Paris and written, acted and filmed entirely in French, the title Coup de Chance translates as “stroke of luck,” and that’s exactly what it is, restoring the masterful filmmaker to his deserved position as one of the screen’s most profound storytellers. 

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The film centers on what outwardly appears to be the perfect marriage of Fanny and Jean Fournier, a rich, attractive couple who don’t seem to have a care in the world. The envy of even their most familiar friends, the Fourniers are like glamorous role models in glossy articles in French Vogue: trendy clothes, a fashionable lifestyle, regular patrons in the most expensive restaurants, a lavish apartment, and a gorgeous ivy-covered weekend house in the country. Fanny (charming, appealing Lou de Laâge ), having survived a miserable first marriage to a lazy, abusive musician, has hit pay dirt with Jean (dashing Melvil Poupaud ). She stays busy working for an exclusive art gallery. He doesn’t do anything but make money as an entrepreneur and a business advisor to rich friends. Two lives well lived, but as in all Woody Allen movies, perfection isn’t everything. The wrinkle in the seamless canvas is boredom. Fanny considers their life missing the proverbial lost chord. She’s tired of weekends with superficial guests who talk about money, travel and the world’s best hotels and wines, has no interest in Jean’s passion for deer hunting, and longs for a change.

Opportunity knocks when Fanny accidentally runs into Alain ( Niels Schneider ), an old schoolmate and once-potential boyfriend she hasn’t seen in years, now a published (and intriguingly divorced) writer working on a new novel, and wonders: if she had married him, would it have led to a different, more exciting life? Against her better judgment, curiosity and a dormant sexuality invade her subconscious. The former school acquaintances begin to meet for casual lunches in the park. Suddenly Jean can’t reach her at work. Cooking spaghetti at his apartment, buying a lottery ticket, change is gradual. Alain makes the mistake of calling when he thinks she’s home alone, and Jean makes the mistake of answering the phone. A coincidence turns into an infatuation and the result is a passionate, full-blown affair. Humiliated and furious, Jean hires a detective, and 48 minutes into the film, irony turns lethal and romance turns to murder. But this is, above all, a Woody Allen movie, so even tragedy blends with humor. I’ll refrain from any spoilers, so you’ll have to ponder who does what to whom—and how. But in another left turn, a new character moves to center stage when Fanny’s mother, suspicious and a devout reader of crime novels, embraces paranoia and continues the narrative in ways that will leave your mouth wide open with shock. Nothing happens the way you think it will, and Coup de Chance will keep you riveted with suspense and surprise.

I wouldn’t describe Woody Allen as a reluctant director, but in this film, his laid-back style has the feel of a jazz improvisation, which is reflected to the hilt in the changing tempos of the screenplay, and in everything from the beauty of the elegant cinematography by the accomplished Vittorio Storaro to the intimacy of the background ballad music by great jazz musicians such as Nat Adderley , Milt Jackson and the Modern Jazz Quartet. 

Superb performances by a sterling cast are an enormous help, too. Especially Lou de Laâge, whose Fanny is endlessly fascinating in a quirky but realistic way, full of unique revelations and traces of Diane Keaton . Her mid-tempo acting style—expressive, with great feeling—easily held my attention from beginning to end. In Woody Allen, she seems to have found the right director to bring out the unexpected strength in the face of adversity needed to meld the power of humor and logic. Coup de Chance is about fate—and the consequences of luck. Woody’s “take” is there is no such thing as fate; we make our own luck. And she, in turn, brings out the intention of her director in spades. Like his films, which are incisive, brightly lit social observations about the human condition, hers is a mirror that masks the darkness of the human heart with the wit, intelligence and survival of the human spirit.

• SEE ALSO : Dorian Harewood Returns To Broadway In ‘The Notebook’ After Almost 50 Years

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Screen Rant

Is breaking bad really getting a heisenberg sequel movie in 2024 not so fast.

A poster revealing a 2024 Walter White-centered Breaking Bad spin-off movie has gained traction online. Is it real? Here's what we know.

• The 2024 Breaking Bad Heisenberg movie poster is fan-made, not legitimate, and not part of any planned continuation of the franchise.
• AMC Films is not a real production company, and there are no current plans for a Breaking Bad movie sequel at any point in the future.
• After Better Call Saul ended in 2022, Vince Gilligan has moved on to new projects, with no intention of continuing the Breaking Bad franchise beyond it.

A poster has surfaced for a 2024 Breaking Bad Heisenberg movie sequel, bringing its legitimacy into question. For over a decade since the show's ending, audiences have inquired regarding the future of Breaking Bad characters , or at least the select few who survived. The prequel series Better Call Saul offered a few glimpses throughout its run, and the sequel film El Camino: A Breaking Bad Movie followed up Jessie Pinkman's story in 2019. Still, passionate and dedicated fans of the series crave more, causing a reactive internet response to a poster going around.

Breaking Bad, Better Call Saul, and El Camino are all available to stream on Netflix.

The poster depicts Walter White lying in a hospital bed, indicating that he awoke after his supposed death in the Breaking Bad ending. The headline reads " Heisenberg," suggesting the film's name, with an August 2024 release date. The Facebook post revealed a detailed synopsis in its caption, which explained that the movie would follow Walter White escaping prison. Breaking Bad is one of the best TV shows of all time , so there's no surprise that such a poster would trigger a quick, explosive response.

Breaking Bad Is Not Getting A Heisenberg Movie Sequel In 2024

The breaking bad sequel poster is fan-made, and there is no movie planned for the franchise.

Simply put, the poster is fake. There is no Breaking Bad movie coming in 2024, nor is there one currently planned at any point in the future. In addition, AMC Films is not a real production company. Bryan Cranston, who led the Breaking Bad cast as Walter White, has returned to the role multiple times for Better Call Saul and a Super Bowl commercial where he appeared alongside Aaron Paul. However, neither of those appearances altered the Breaking Bad ending, as one took place before his death chronologically, and the other is a joke for a commercial.

It's hard to imagine any of the creative talents involved in making a well-crafted series like Breaking Bad would have any interest in such an idea.

Breaking Bad had one of the best TV show finales of all time , making the idea of retroactively changing it for a movie sequel ludicrous. Walter White evidently died in Breaking Bad , completing a five-season arc with cathartic moments in Ozymandias and Felina . Having him return for a prison break, portraying an unhinged Heisenberg, would absolutely betray that arc. It's hard to imagine any of the creative talents involved in making a well-crafted series like Breaking Bad would have any interest in such an idea.

There Are No Current Plans To Continue The Breaking Bad Franchise After Better Call Saul

After better call saul ended in 2022, breaking bad creator vince gilligan has moved on to new projects.

As of now, Better Call Saul is the final installment to the Breaking Bad franchise . The show ended in 2022 to overwhelming critical acclaim, concluding the final arcs in Vince Gilligan's world of Albuquerque crime. Realistically, there aren't many promising narratives to follow in future spin-offs, hence why Gilligan has moved on to a new project. The Breaking Bad creator is now working on a TV series for Apple TV+ which is set to star the magnificent Rhea Seehorn, who played Kim Wexler for all six seasons of Better Call Saul .

Breaking Bad

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Breaking Bad, created by Vince Gilligan, follows a chemistry teacher turned drug kingpin named Walter White (Bryan Cranston) as he attempts to provide for his family following a fatal diagnosis. With nothing left to fear, White ascends to power in the world of drugs and crime, transforming the simple family man into someone known only as Heisenberg.

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‘Renegade Nell’ Review: When the Highwayman Is a Superwoman

In a new series for Disney+, the creator of “Happy Valley” and “Last Tango in Halifax” imagines a sometimes-superpowered 18th-century justice warrior.

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By Mike Hale

The British television writer Sally Wainwright may not be a household name in the United States, but for more than a decade she has been turning out television shows whose variety and consistently high quality few writer-producers can match.

“Scott & Bailey,” which premiered in 2011, was a smart, tart buddy-detective procedural . The blended-families drama “Last Tango in Halifax” (2012) was finely tooled, irresistible hokum , reflecting the lessons Wainwright learned during her tenure on the venerable soap opera “Coronation Street.” She raised her game with “Happy Valley” (2014), a terrific series about the intertwined work and home lives of a doggedly heroic policewoman. And she segued into costume drama with “Gentleman Jack” (2019), a fact-based Victorian saga of lesbian romance and financial maneuvering that was, like the others, well made, well acted and highly engaging.

The shows have a couple of through lines. They all take place in or near Wainwright’s home ground of Yorkshire, in northern England. And they all focus on tough, take-charge women — often women whose commitment to what they know or think is right can make them a little hard to live with.

Wainwright’s latest show, “Renegade Nell,” whose eight episodes premiered Friday on Disney+, takes her down some new paths. The action moves south, toward London (it was filmed in Oxfordshire), and further back in time, to the early 1700s. And in a significant departure, Wainwright dabbles in the supernatural: Her heroine, the commoner Nell Jackson, can summon otherworldly strength and agility to battle the black magic wielded by her higher-born foes.

Nell, played by Louisa Harland of “Derry Girls,” is another Wainwright heroine who must learn how to harness her strength and high spirits, and not do collateral damage to her family and friends. (She gets called “unnatural,” an epithet also applied to the protagonist of “Gentleman Jack” when she acts in ways women are not supposed to.) Nell’s challenge is greater, though, because the strength is so unexpected. Stumbling upon a stagecoach robbery, she is about to be shot when a tiny light appears and gives her ruffian-bashing, bullet-dodging capabilities.

The light turns out to be a winged humanoid named Billy, played by Nick Mohammed of “Ted Lasso,” who returns to bail out Nell whenever she is in danger (though not always as promptly as she would like). And she is in danger a lot: Her new powers, combined with some complicated and tragic circumstances, turn her into a fugitive suspected of multiple murders and eventually put her in the unlikely position of saving the British crown from a Jacobite invasion. (Thematically, it’s helpful for Wainwright that the actual monarch at the time, who faced an actual coup attempt, was a woman, Queen Anne, played in the show with an arch sang-froid by Jodhi May.)

It is worth mentioning here that “Renegade Nell” is a comedy, and that various traditions of British comedy figure heavily in how it looks and feels. It’s like a gender-switched “The Beggar’s Opera” (the most famous play of the show’s time period), with a male highwayman, Devereux (Frank Dillane), as the female lead’s comic foil. It borrows from the picaresque novels of the 18th century, as Nell and a ragtag band that includes her two sisters (Bo Bragason and Florence Keen), a resourceful stablehand (Ényì Okoronkwo) and Devereux bounce around the countryside getting into and out of alarming scrapes.

And hanging in the background is Shakespeare. There are references to “The Merry Wives of Windsor” and “King John,” and Billy is an Ariel-like sprite who speculates that his partnership with Nell is meant to restore balance to the world, which would be in the best traditions of Shakespearean comedy.

Billy must speculate because neither he nor Nell has any idea why they have been brought together, and the audience does not know what Billy is or where he comes from.

Perhaps we will get this information if a second season materializes; in the meantime, its lack contributes to a general fuzziness at the show’s center. Wainwright’s skill at moving the characters around and putting pithy dialogue in their mouths makes “Renegade Nell” very enjoyable from moment to moment, and most of the performers — particularly Keen, as the youngest sister, and Dillane — draw you in.

But as the season moves along, and the metaphor of magic as social and political power becomes more obvious — enabling Nell while it corrupts the aristocratic schemers ably played by Adrian Lester and Alice Kremelberg — the show doesn’t solidify its hold on your emotions. And the comedy, while reasonably deft, remains on a low boil.

Like a lot of period pieces these days, the show is amusing, intelligent and very well executed, and it shrewdly exploits its comic and magical elements to get away with audience-friendly anachronisms of language, behavior and casting. The corollary, and perhaps the consequence, is that it feels like an exceedingly clever card trick — well worth the “Ooh,” but unlikely to linger in the mind.

Mike Hale is a television critic for The Times. He also writes about online video, film and media. More about Mike Hale

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Former MAGA to undercover conservative, characters make 'Girls State' a fascinating watch

Timing is everything.

That’s one takeaway from “Girls State,” the excellent, thankfully inevitable follow-up to the also excellent “Boys State.” Both are directed by Amanda McBaine and Jesse Moss; both follow students through the weeklong program that immerses them in government. But not JUST government.

As Maddie Rowan, one of the participants, says at the beginning: “There’s a funny feeling in the air. There’s something in the air. And it’s politics.”

Is it ever.

“Boys State” came out in 2020, but the events took place in Texas in 2018. Gun control and abortion rights were central to the debates as the boys running for office shaped their platforms.

“Girls State,” however, takes place in the summer of 2022 in Missouri, and timing is everything.

When does 'Girls State' take place?

It’s set in the strange time between the leak of the Supreme Court draft that outlined the decision to kill Roe v. Wade and the announcement of the decision itself; the decision was handed down six days after "Girls State" ended. The inevitability colors everything, playing out like a slow-motion car crash, one in which you know impact is coming but you can’t do anything to avoid it.

Tochi Ihekona — who at the outset muses that for some of the participants from smaller, more rural communities, she might be the first Black person they’ve ever interacted with — personifies the real-world political stakes when she is tasked with with defending the state’s requirement that women seeking an abortion must undergo mandatory counseling. Tochi is smart and does her job well, but her beliefs don’t line up with the state’s.

As with “Boys State” — as with any good documentary — the film’s success is dependent upon the characters, and once again McBaine and Moss have found a crop of compelling ones. They flit through a flurry of girls at the outset, as the participants check in and decide what they want to do with their time there. Nisha Murali, for instance, uses her campaign to be on the Supreme Court as a means of overcoming her shyness (though she is plenty passionate about issues). There’s also a funny bit where another girl who is running for the Supreme Court is asked what case has affected her most. She goes with the Johnny Depp-Amber Heard defamation case without hesitation.

The participants in 'Girls State' are products of the times

Of course, the most ambitious girls know from the start what they want and scheme to get it. Governor is the highest office, and it’s in that race the star of the film, if it can be said to have one, emerges.

Emily Whitmore announces herself as “that girl” in her high school, the one who not only participates in everything, but more or less runs it all, too. She hasn’t lost an election since grade school, and not only does she plan on running for and winning governor at Girls State, she plans on being President of the United States in 2040. She has plans, you might say.

Ah, but the best-laid plans and all that. It’s no spoiler to say that things won’t go exactly the way Emily imagines they will — no spoiler because do anyone’s, ever? She has kept her conservative views under wraps so far, she says, so that she won’t turn off any potential audience — the “Republicans buy shoes, too” reasoning that Michael Jordan popularized. (That a high-school girl thinks in terms of an audience already says something about both Emily and the times in which she lives.)

Emily uses Girls State to announce her conservative views — but she also insists that she has no interest in forcing them onto anyone who disagrees with them. She’s never going to get her MAGA credentials with that attitude. One of her rivals, Faith Glasgow, WAS a MAGA follower, thanks to her family and community. But she has rejected their beliefs and runs as a hard-charging progressive. (She was voted Most Judgmental in her Girl Scout troop, she notes with a touch of pride. She’s not there to make friends, she says. She’s there to talk about politics.)

'Girls State' shines a light on inequality, in mock and real government alike

For the first time, Boys State and Girls State are held on the same Missouri college campus, though there are strict rules against any interaction. The girls, who have a stricter dress code and other more rigid requirements, begin to chafe at the inequality.

Why, for instance, does the actual governor of Missouri swear in the boy who wins Boys State governor, but not his female counterpart?

This leads to a somewhat surprising and hopeful development, though inequality, whether seen through how much say women have when making choices about their bodies or through the disparity in spending on Boys State and Girls State, remains prevalent throughout.

If the purpose of Girls State is to give high-school students a taste of how government works in real life, “Girls State” makes a case that it does its job only too well.

'Boys State' review: An enlightening, depressing documentary about politics

'Girls State' 4 stars

Great ★★★★★ Good ★★★★

Fair ★★★ Bad ★★ Bomb ★

Directors: Amanda McBaine, Jesse Moss.

Cast: Emily Worthmore, Faith Glasgow, Cecilia Bartin.

Rating: Not rated.

How to watch: Streaming on Apple TV+ on Friday, April 5.

Reach Goodykoontz at  [email protected] . Facebook:  facebook.com/GoodyOnFilm . Twitter:  @goodyk .

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Someone Like You

Based on the novel by #1 NYTimes bestselling author Karen Kingsbury, "Someone Like You" is an achingly beautiful love story. After the tragic loss of his best friend, a grieving young archit... Read all Based on the novel by #1 NYTimes bestselling author Karen Kingsbury, "Someone Like You" is an achingly beautiful love story. After the tragic loss of his best friend, a grieving young architect launches a search for her secret twin sister. Based on the novel by #1 NYTimes bestselling author Karen Kingsbury, "Someone Like You" is an achingly beautiful love story. After the tragic loss of his best friend, a grieving young architect launches a search for her secret twin sister.

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I would like to describe the plot of "Nomads," but my space is limited. Maybe I can give it a try. A French anthropologist ( Pierce Brosnan ) moves to Los Angeles with his wife. Their new home is immediately made the target of a roaming band of fierce street people who dress in leather and chains and paint slogans on garage walls.

The anthropologist discovers that these people are not your average, big-city vandals, but an urban version of the Innuat. And, about halfway through the movie, we learn what the Innuat are.

According to Eskimo legends, they are nomadic spirits who wander the Earth in human form, spreading evil.

That is not the complicated part of the plot. The hard part is what we have to slog through before we find out about Innuats.

The movie starts with Lesley-Anne Down as an emergency-room doctor. A de-ranged patient (Brosnan) is brought in and handcuffed to the bed. Everybody thinks he's on a bad drug trip, but no, it's simpler than that; he has gone stark raving mad.

He keeps screaming the same phrase in French: N'y sont pas; sont des Innuat. This translates as, "They are not there; they are Innuat." But nobody can figure that out, because they don't know "Innuat" is an Eskimo word, you see, and they simply think his French is bad.

That reminds me of a classic story from the Cannes Film Festival a few years back, when Rex Reed got an engraved invitation in French. The only word he could read was "Eskimo." He had heard that there was a great new Eskimo film in the festival, however, and so at midnight he went bravely out into the rainy night and got a cab and went to the address on the invitation, only to discover that he was a guest at the opening of an Eskimo Pie ice cream store.

Now you may argue, not unreasonably, that my story has little to do with "Nomads." True. But it has at least as much to do with "Nomads" as the ancient Eskimo myth of the Innuat.

"Nomads" is a very confused movie, especially after the berserk Brosnan leaps out of his manacles and bites Lesley-Anne Down on the neck, transferring all of his memories into her head, so that she goes crazy and relives all of Brosnan's traumatic experiences with the Innuat.

This grows very confusing for Brosnan's wife (Anna-Maria Moneticelli), who does not understand why Down is telling her things only Brosnan would know.

It is also very confusing for the audience, because the movie keeps switching signals on us.

Sometimes we see Down and then we get a point-of-view shot that is supposed to be inside her head but looking out through Brosnan's eyes.

Sometimes we see Brosnan from the outside. Sometimes that means we are looking at the real Brosnan, and sometimes it doesn't. We'd really be confused, if we gave a damn.

But we don't. The movie tells one of those stories where the characters have only themselves to blame, for going out into dark nights and looking for trouble with the Innuat and not getting on the next plane back to France.

Everybody in this movie gets what's coming to them, except for Lesley-Anne Down, and even she should have been smart enough not to shine her flashlight in the eyes of a man who was foaming at the mouth.

"Nomads" does, however, have one great shot. An Innuat on a motorcycle is chasing the two women down a lonely interstate highway.

Suddenly, the Innuat turns back, and the camera pans slowly to reveal a highway sign: the California state line. Apparently Nevada is not loony enough for the Innuat. And so the lonely Innuat wheels his motorcycle around, and drives slowly back to Los Angeles, where, in keeping with the ancient Eskimo legend, his spirit will haunt the backlots of Hollywood, waiting for another movie that wouldn't be quite bad enough without him.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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