Before the Flood Reviews - Metacritic. Two things I want to put first right here. For one, this is an exceptional documentary and works wonderfully as a piece of enlightenment. Secondly, I have to say that Leonardo Di.

• As you play the game, you need to watch your reputation level, which represents your standing in the community, and your soul level, which represents your piousness.
• Before the Flood movie reviews & Metacritic score: A look at how climate change affects our environment and what society can do prevent the demise of endange.

“I think we’d do better with a healer,” I suggested to my Overwatch team earlier this week. We were in the spawn room defending the Temple of Anubis and. Chapter 27 is a 2007 biographical film depicting the murder of John Lennon by Mark David Chapman. It was written and directed by Jarrett Schaefer, based on the book.

Caprio is a really bad actor in it. I also think, however, that you should - and easily can- look past that fact. Now, I think it is a great thing that one of the most famous people in the world gives his face to draw attention to the most urgent issue of our time, the devastation of our planet through our own hands, or how most people call it, "climate change". Di. Caprio's presence throughout the film also helps you to identify with the situation, you look through his eyes much the same way you see the madness of war through Martin Sheen's eyes in Apocalypse Now. So overall, he benefits this movie in all the right ways.. Well, all the right ways except for authenticity.

The problem I have is that when I look at his face during these interviews, I don't see genuine interest. I see disinterest. All his "oh my god"s come across as uninspired and fake to me.

I see a person trying to level up his PR. He comes across as hypocritical. And I mean he's a great actor, why couldn't he at least pretend interest? It's just baffling to me. He seems to care, but he also looks bored. Maybe he plays with brilliance a character meant to reflect our own ignorance and hypocrisy. I kinda doubt that though.

But the documentary itself is easily good enough to condone Di. Caprio's ambiguous appearance.

I think it takes a look at all the right things and delivered all the right messages. Technically, the editing of Before The Flood, it's structure, especially how it uses Bosch's painting The Garden of Earthly Delights as a frame for it's story, is impeccable. I also really liked how they used behind the scenes footage of The Revenant (another film I really like). The cinematography is very impressive, delivering many memorable pictures.

And the score by heavy- weights Trent Reznor and Atticus Ross (highly acclaimed for their work on recent David Fincher films) in collaboration with Mogwai (!!) and Gustavo Santaolalla is marvelous. The interviews are all very interesting and informative, illuminating not only the facts we have to face in a very objective and vivid manner, but also showing the different perspectives on the topic from all around the world, giving you a very complete picture. And interestingly enough I didn't find the film to be preachy at all (I definitely expected it to be exactly that), it is much rather informative and insightful. After all, the content of a documentary, and even moreso the way it is delivered, is all that counts. And this makes it, by all accounts, a great film. It helps to gain deeper understanding of one of the most important topics in the world. And it will convince people not aware of it's importance.

You can stream Before The Flood for free on youtube. A great decision on side of the filmmakers. It is the absolute right thing to do in 2. And not to charge money for such a clearly high- budget project definitely shows the good intention behind it.

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Broken Age - Wikipedia. Broken Age. Developer(s)Double Fine Productions. Publisher(s)Double Fine Productions. Director(s)Tim Schafer. Producer(s)Greg Rice.

Programmer(s)Oliver Franzke. Anna Kipnis. Artist(s)Lee Petty.

Nathan Stapley. Writer(s)Tim Schafer. Composer(s)Peter Mc. Connell. Engine. Moai. Platform(s)Microsoft Windows, OS X, Linux, Ouya, i. OS, Android, Play. Station 4, Play. Station Vita.

Xbox One. Release. April 2. 8, 2. 01.

Act 1. Windows, OS X, Linux. January 1. 4, 2. 01. Backer Beta)[1][2][3]January 2. Public)[4]Ouya. May 3.

OSJune 1. 2, 2. 01. Android. April 2. PS4, PS Vita. Act 2. Genre(s)Point- and- click adventure. Mode(s)Single- player. Broken Age is a point- and- click adventurevideo game developed and published by Double Fine Productions.[6]Broken Age was game director Tim Schafer's first return to the genre since 1. Grim Fandango, and was released for Microsoft Windows, Mac OS X, Linux, i.

OS, Android, Play. Station 4, and Play. Station Vita platforms.

The game was developed in two acts; the first was released on January 2. Kickstarter backers), and the second was released on April 2. A retail version of the complete game for Windows, OS X, and Linux, published by Nordic Games, was released on April 2. Broken Age began under the working title Double Fine Adventure as a Kickstartercrowdfunded project promoted by Double Fine and 2 Player Productions in February 2.

Originally a goal of $4. It remains one of the highest- backed crowdfunded projects of any type, and its success helped to establish Kickstarter and other crowdfunding mechanisms as a viable alternative to traditional venture capital and publisher funding for niche video game titles. The game's development was chronicled by an episodic series of documentaries produced by 2 Player Productions. Gameplay[edit]Broken Age is a point- and- click adventure game, where the player- controlled character can be directed to move about the screen, examine objects, and talk to non- player characters to learn more about the game world. The game features two playable characters, each located in separate worlds; the player can switch from one character to the other via the game's interface at any time, but otherwise these characters do not interact in any direct way.

The game employs context- sensitive actions instead of using verb lists as early adventure games would use, as Schafer stated that in essence, "there really was always one verb, which was 'interact with'" and opted with the more modern approach.[8] Each character has separate item inventories as they collect objects; items can then be used by dragging them onto context- sensitive areas on the screen or combined with other inventory items. Broken Age's plot involves two teenagers: Vella (left) who is to be sacrificed to protect her home village from a giant monster, and Shay (right) who appears to be the only passenger on a spacecraft monitored by an overly motherly computer. The game's art was praised, and called "lush and gorgeous, with the feel of an interactive children’s storybook".[9]Broken Age tells the story of two teenagers with no immediate apparent connection, each "seeking to break the tradition in their lives".[6]Vella Tartine (voiced by Masasa Moyo) is a young woman living in the Badlands, a land ravaged by the Mogs, giant creatures that come from beyond a wall called the Plague Dam. They are appeased through the sacrifice of young girls at a number of Maiden's Feasts held at various villages. They appear every 1.

Vella is chosen to be sacrificed to Mog Chothra at the feast in her hometown, Sugar Bunting (It used to be called Steel Bunting - a town made up of warriors), but concludes that if the monster could be killed, the rituals could be ended. She finds a way to escape the beast's attack, and ends up in Meriloft, a small colony which rests on a cluster of semi- solid clouds. They are dealing with the aftermath of their own Feast, affirming her belief that the rituals are disastrous to their people and should be ended. She then finds her way to the local port town, Shellmound, where they are preparing their Feast. There she discovers the Dead Eye God's temple, which turns out to be an ancient spaceship, the Maloruna, half- buried by the sand.

She is able to wake its pilot, Alex, from his three hundred year stasis, and he helps her to rig the ship's scanning system to fire a laser at Mog Chothra when he shows up for the Feast. Vella's plan works, and she is able to bring down the creature. Shay Volta (voiced by Elijah Wood) is a young man and seemingly the only passenger on the spaceship Bossa Nostra (Bassinostra), an "incubator vessel".

The ship's computer has two artificial intelligences (AIs). The computer's daytime AI, named "MOM", acts as a mother figure to Shay, occupying him with infantile "missions" and boring routines, while preventing him from learning about or exploring anything farther than the outside of the ship. The computer's nighttime AI acts as a father figure to Shay and is more understanding of Shay's desire for independence, but appears to be too busy to spend time with Shay. The computer asserts that he is part of Project Dandelion, a last- ditch effort by his home planet, Loruna, to protect Shay (the only survivor of his race following the planet's destruction) and try to find a home for him.

When Shay sneaks into the bowels of the ship, he finds a stowaway named Marek wearing a wolf costume. Marek claims that, unbeknownst to him, a war rages in the galaxy, and tells Shay that he needs his help to save some innocent creatures who have been imprisoned in different areas of the galaxy as a result. Marek guides Shay through various missions against the computer's knowledge and control, trying to rescue a number of the creatures at each location before their position is discovered by an enemy force. During one of these rescues, Shay refuses to leave the last creature behind, causing the ship to be attacked, and trapping Marek under a pile of debris. In the ensuing chaos, Shay is knocked unconscious.

Act 1 ends when Vella discovers that Mog Chothra is mechanical. Shay emerges confused from inside, revealing that his belief of being in space was merely part of an illusion, and that he was unwittingly controlling Mog Chothra. Vella attempts to punch Shay, but misses and falls into Mog Chothra's mouth. The mouth closes behind her, leaving them both trapped in each other's worlds, uncertain of what to do in their new surroundings.