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An all-too-brief glimpse of Vieira de Mello at the end of the film suggests no one can come close to capturing the charisma and understated integrity of the real man. Barker, who made an HBO documentary about Vieira de Mello, might be too close to the facts to construct the kind of taut, engrossing drama his dashing protagonist deserves: Despite a solemn and carefully considered lead performance by Wagner Moura, “Sergio” zigs, zags and sags under the weight of information overload and some regrettably gauzy love scenes.
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98 minutes.ĭiplomat and human rights activist Sérgio Vieira de Mello led a heroic life that came to a heartbreaking end, an arc that filmmaker Greg Barker tries valiantly to capture in “ Sergio.” Beginning with the 2003 bombing of United Nations headquarters in Baghdad that would take Vieira de Mello’s life, Barker flashes back and forth and back again to revisit the most notable moments of his subject’s life and career, including his role in negotiating peace in East Timor, his tenure as the U.N.’s High Commissioner for Human Rights and his romance with international economist Carolina Larriera (Ana de Armas).
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Contains some violence and strong language. Available April 17 on various streaming platforms. Director Scott Teems keeps this laconic potboiler on a steady simmer, even when a few plot twists beg credulity. (There’s an actual quarry in the film, but the meaning of the word becomes more fluid as their cat-and-mouse game intensifies.) Reminiscent of John Sayles’s “ Lone Star,” as well as “No Country for Old Men,” this southern noir tale of deception and reckoning hits all the familiar beats of the genre (Catalina Sandino Moreno plays the femme fatale), and throws in some theological provocations as grace notes (see “ Corpus Christi” for a recent reference). They produced their new movie, “ The Quarry,” and it’s easy to see why they saw it as the perfect vehicle for getting their band back together: Whigham plays a stringy, road-hardened drifter whose arrival in a tiny Texas border town raises the suspicions of the local sheriff, played by Shannon with his usual blend of edgy humor and volatile menace. Seeing the actors Michael Shannon and Shea Whigham together on screen evokes an eerie resonance: In 2011 they appeared together in the creepy dystopian thriller “Take Shelter,” which feels oddly apt to this moment of paranoia and self-isolation.
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Contains strong language, nudity, sexuality and brief violence. Sigurdsson himself makes for a riveting physical presence - part grieving, unhinged widow, part unmovable mountain - but the world he inhabits feels unearthly, raw, strange and freshly ripped out of a dark place of pain and jealousy. There’s traditional dialogue, to be sure, and at times the otherwise mesmerizing film veers into thriller cliches before righting itself, but it’s at its best when the camera, not the screenplay, does the storytelling work. In the second feature from writer-director Hlynur Palmason (“Winter Brothers”), the story of a policeman (Ingvar Sigurdsson) - not working since his wife died in that same accident, and coming to suspect that she had been having an affair - is largely told via such striking visuals. The passage of time is then suggested by a sequence of static shots showing a house under construction. Iceland’s official submission to the most recent Oscars, “ A White, White Day” opens with an arresting sequence: A car, driven in weather so foggy you can’t tell earth from sky - the inspiration for the title - negotiates a winding mountain road before abruptly veering through a guardrail and out of sight.