Thanks to the folks at STUDIOCANAL, we’re giving you the chance to win 1 of 5 double passes to the Sydney preview screening of TERMINATOR 2: JUDGMENT DAY 3D, being held at Hoyts Broadway, 6.30pm on Thursday 10 August, 2017. For your chance to win, simply CLICK HERE to head over to our Facebook page and find how out how to enter.

In celebration of the 25th anniversary, three-time Academy Award® winning director James Cameron has taken his epic action/sci-fi masterpiece, starring Arnold Schwarzenegger in his most iconic role, to the next level by restoring the film to 4K and converting it into immersive 3D. It has been 10 years since the events of TERMINATOR. Sarah Connor’s ordeal is only just beginning as she struggles to protect her son, John, the future leader of the human resistance against the machines, from a new Terminator sent back in time to eliminate John Connor while he’s still a child.

Sarah and John don’t have to face this terrifying threat alone, however. The human resistance has managed to send them an ally, a warrior from the future ordered to protect John Connor at any cost. The battle for tomorrow has begun in

TERMINATOR 2: JUDGMENT DAY 3D, hitting cinemas August 24 for a limited season – one-week-only! 

- Stu 

As this review is a First Impressions of a game that is still in development, there will be no */10 Geeks score at the end. Any aspects of the game discussed here are subject to change in the final version.


If you were a fan of Project CARS, the 2015 racing simulator which offered some of the highest real world fidelity achieved only by the likes of Forza and the original Gran Turismo, you are almost guaranteed to like Project CARS 2. It's bigger, it's more detailed, and it's brought back much of the first game's successful micromanaging of its cars for players of the expert class. This is as close to a real world driving career as you're probably going to get.

Conversely, if you weren't a fan of the original, you're going to have a much harder time with the sequel.

Project CARS 2 is a well-designed and engrossing game for those who enjoy this kind of thing, even though I once again acknowledge my personal lack of affinity for driving games that don't involve spaceships or Crash Bandicoot. It's a tightly immersive racing simulator, allowing a high degree of car customisation whilst demanding finesse and copious skill from its players. This is the kind of simulator which comes with a broad array of cars, realistic driving physics and a suite of technical customisation options, where you'll need to minutely adjust your downforce or brake strength in the garage and apply varying pressure to the accelerator in order to create the perfect driving experience. Any casual aspects to the game are minimal: this is one for the hardcore crowd (though having said that, it is possible to drive James Bond's Aston Martin DB10 from Skyfall, pictured below, so there's still a a degree of levity amongst all the hardcore play).

As in the first game, you're a career driver racing across a plethora of tracks in a variety of countries. The solo campaign experience seems largely the same as before, though now lacking the omnipresent social media channels where fictional spectators can celebrate or criticise your racing prowess. I didn't get too far through in the few hours I had with the game, but it's clear - given the deeper inclusion of vehicle adjustments - that Slightly Mad Studios are as intent on fashioning an immersive simulacrum of a race driver's career.

Online functionality is a facet the game seems quite keen to push. Though I obviously didn't get to try it myself, I was told that the multiplayer elements - both online and local - are intended to be a bigger draw than in the previous game. There's a lot of fun that could potentially be had if you race against a real life opponent, especially since car damage is still readily inflicted if you hit barriers or other vehicles. The return of familiar vehicles and tracks - including Australia's own Mt. Panorama - make for some fun multiplayer opportunities as well. Having said that, the in-depth nature of the game's customising will prohibit a pick-up-and-play style of gaming, preferring to stick to the more involved and experienced players. The first Project CARS  is itself already a fairly successful e-sport, providing a model for its sequel to follow suit. In that mould, Project CARS 2 invites a gaming style to be honed and refined over months of practice.

There are some technical issues to address: the graphics still look somewhat incomplete and the oddly dramatic background music - thankfully only playing during menus and loading screens - gives a hairline fracture to the immersion factor. But despite this, the overall strengths of the franchise's first entry are here made sharper. Project CARS 2 is shaping up to be a quintessential racing simulator that courts an already-familiar crowd.

- Chris

Project Cars 2 is due for release September 22nd, on PC, PS4 and Xbox One.

Geek of Oz would like to thank Bandai Namco Entertainment for the hands-on demo.
Last week we got the exciting news that Gerard Way's Dark Horse comic, The Umbrella Academy, will be heading to Netflix as a live action series. As a huge fan of the comic, and Way's writing in general, I thought I'd talk about my personal history with the series and what makes
The Umbrella Academy one of the best series modern comics has to offer.

What follows is the story of how I almost wrote it off completely.

It starts with me as a teenager

I was 15 or so when I first heard the phrase 'emo'. Initially, I was unsure what to make of this new word and all the connotations it seemed to carry with it, but it wasn't long before the phrase wormed its way into my teenage vocabulary. No sooner had I come to terms with this strange new concept than I was confronted with a deluge of emo rock, in all its high pitched, hard-rocking glory, belted out by black-haired boys in impossibly-tight jeans.

During these glory days of emo rock, bands didn't get much bigger than My Chemical Romance; in high school, it wasn't long before my whole class were hooked on their hit album, The Black Parade. My whole class excluding me, that is.

The clothes, the hair, the bombast: my white-bread, Christian rock sensibilities just couldn't handle it all. It wasn't long before I wrote the genre off completely, vowing never to dip my toes into the monotone world of emo rock. Just hearing the letters MCR - shorthand for the above band of Black Parade infamy - became enough to make me roll my eyes in dismissal.

This is going somewhere, I promise.

Years later, a friend, although I can't recall who, recommended I check out a comic called The Umbrella Academy. The discovery that the writer was MCR's frontman, Gerard Way, almost stopped me from checking it out. Almost. Fortunately, the book's fantastic art -- provided by Gabriel Ba with colours by Dave Stewart -- was enough to make me put aside my teenage vendetta and give the book a try.

I will be forever grateful that I did; six issues later and I was a convert to the cult of Way.

So, what is it exactly about The Umbrella Academy that allowed me to recalibrate my opinion of Gerard Way from the skinny-jean-clad singer of that band I hated, to a formidable writer and comic book heavyweight?

Well... that might take a little bit of explaining.

No Tourist

As comics luminary and lovable kook Grant Morrison writes in his introduction to The Umbrella Academy's first collected volume, Apocalypse Suite, ' ...Gerad wasn't a celebrity tourist in the world of comics - he knew them and loved them, and had clear ideas about where he wanted to take them.'

You don't have to take Morrison's word for it either. A quick flip through the volume's pages and it will become obvious that Way is a lifelong fan of the medium, not just some hack trying to leverage his celebrity status to fulfill a misguided childhood fantasy.

The first thing that will hit you when you start reading The Umbrella Academy is how insanely well written it is. Almost impossibly so. This is Way's first published comic and yet he breezes into it like he's been writing them forever. The script is tight, the characters are engaging and the ideas are polished. Best of all, he seems at home playing in the comic book world without ever getting too comfortable.

Right from the the first volume's opening pages - which features a glorious splash of a brawny
wrestler diving elbow first onto a Rigelian Space squid  - it becomes clear that Way has a strong grasp on what makes the superhero genre so exciting.

His very premise, which involves gifted children trained to become superheros by an eccentric millionaire, reeks of the familiar (namely Marvel's X-men) but immediately differentiates itself through its time-twisting setting and unique cast of characters.  Throw in everything from Viet Cong vampires and chimpanzee cops to a death cult orchestra and zombie robots, and it's clear The Umbrella Academy stands apart as a truly unique beast in an over saturated genre.

Possibly even more impressive is the fact you will find all these crazy, bold ideas, neatly contained in two story arcs that are equal parts chaotic and coherent. It's everything weird you know and love about Morrison's writing only with an accessibility that the Scottish scribe has never really been able to provide.

The embedding of kabbalist mythology and pseudo-philosophical ideas in a lot of  Morrison's work (such as The Invisibles or his run on Batman) can prove daunting to even a veteran comic-book reader. This is not aided by the fact that Morrison never feels a need to explain or unpack these themes.

Way does something very similair, only with one key difference: the themes he embeds within his work relate to the superhero genre itself, something most people are at least partially familiar with. Way's work becomes a playground where these tropes and ideas are explored, remixed and rebooted.

 Who are The Umbrella Academy?


The Umbrella Academy tells the story of the Hargreeves 'family', a rag-tag team of gifted children brought together to save the world by an eccentric old man. On the surface it may seem like ground which has been well-trod by the likes of the X-Men (as previously mentioned) or Doom Patrol, but it's what lies beyond this premise that makes the book so damn special. 

Way's cast of characters, all brought to life by Ba's fantastic art and Stewart's emotive colouring, showcase this perfectly. Although some of these characters are modelled strongly off existing tropes - such as Diego, alias "The Kraken", who serves as the family's oh-so-serious vigilante crime-fighter a la Batman - each is given enough detail and nuance to make them feel new and fresh.

It's things like Luther , also known as Space Boy's, gorilla body or The  Kraken's missing eye. Hell, it's all the small details like these that really help to bring the cast to life.

Take for example Klaus, alias "The Seance" and the family's resident telepath/telekinetic. Klaus is unable to use his powers unless he has bare feet, and has the words 'Hello' and 'Goodbye' tattooed to the palms of his hands.

Unlike a lot of other psychic characters, who usually struggle with and are sometimes even resistant to their telepathic abilities, Klaus seems very at home with his powers and uses them without concern or hesitation. Rather then a person burdened with great power, the abilities function as an integral part of Klaus; simultaneously a reflection and extension of his personality. In this way, the Hargreeves family aren't walking, taking superpower repositories, but instead are fully realized people with their own nuances and personality quirks. 

Although they might all share the same last name, the Hargreeves' don't really have much else in common, and it shows. The team are always fighting and bickering amongst themselves, which usually leads to trouble - like almost bringing on the end of the world in Apocalypse Suite.

It doesn't take much time in the world of  The Umbrella Academy to realise that these character's aren't a team of superheroes, so much as they are a group of flawed people who are forced to work together.

Broken Things

This brings us to what is - in my opinion anyway - one of the great strengths of Way's writing, and a throughline permeating his entire body of comic book work: his affection and hope for broken people. It's the simple idea that the fuck-ups and outcasts of the world can get their shit together long enough to do something meaningful which makes his work so intoxicating to me.

Kraken and Spaceboy might continually butt heads, but they still work together when push comes to shove. Sure, Klaus might be off his face on drugs half the time but that doesn't mean he can't still save the day by stopping a meteor with his telekinesis. 

Time and time again in Way's work you will find instances like these, where characters - whom others within the narrative have written off - will step up and rise to a Herculean challenge. 

Throughout all the chaos, weirdness and brokenness, there is always hope. 

If teenager me could see me now...

My signed copy of the first volume of The Umbrella Academy is one of my most prized possessions. Every time I glance at it I am warmly reminded of the time I got to see Gerard Way speak at the Sydney Opera House a few years ago. 

I only got to meet him for a second while he signed my book, and he was clearly very jet lagged, but his kindness and sincerity shone through regardless. He even seemed genuinely grateful when I told him how much I enjoyed his writing, even though I was just one of a huge crowd who all felt connected to his work. 

It was a short exchange, but it meant a lot to interact with a creator I have so much admiration and respect for.

So... does that mean you're an MCR fan now?


Well, I'm not about to go out and buy My Chemical Romance's back catalogue, but you can be damn sure I will be first in line to pick up any comic that features Way as a creator. His comics aren't just simply "good"; within their brightly-coloured pages, you will find on full display everything good about comics in general. The Umbrella Academy TV series is due to hit Netflix in 2018. I have no doubts it will be stellar, but you really should do yourself a favour and check out the source material before then. 

For the love of God, please don't make the mistake I almost made and discount this comic due to its connection to the heavily-stigmatised genre of emo rock.

I promise you, you won't regret it. I sure don't.

- Christof   

Entertainment One Australia have announced that the complete seventh season of THE WALKING DEAD will be available on DVD & Blu-ray from September 27.

Regarded by many as the most controversial season in the show’s history, fans will once again get a compelling glimpse behind-the-scenes with brand new special features including featurettes and audio commentary.

In Season 7 of the iconic show, Rick Grimes (Andrew Lincoln) and his group will find out yet again that the world isn’t what they thought it was and the lengths they will have to go to in order to find weapons, food and new fighters is nothing short of remarkable. While they have a singular purpose - to defeat Negan (Jeffrey Dean Morgan) - it won’t come easy. More importantly, victory will require more than Alexandria. They need the numbers of the Kingdom and the Hilltop.

Both the DVD & Blu-ray editions of the complete seventh season of THE WALKING DEAD will have a host of bonus features as follows:

  • Featurettes x7: ‘Breaking and Rebuilding’, ‘In Memoriam’, ‘A Larger World’, ‘A New Chapter’, ‘The Writer’, ‘Top Walker’, ‘Warrior Women’
  • Deleted & Extended Scenes x 8 scenes
  • Inside The Walking Dead x 16 episodes
  • Making of The Walking Dead x 16 episodes
  • Audio Commentaries x 6: Featuring contributions from Scott Gimple, Greg Nicotero, Michael Cudlitz, Angela Kang, Norman Reedus, Alanna Mastertson, Josh McDermitt, Austin Amelio, Denise Huth, Lennie James, Melissa McBride, Lauren Cohan

Fans can pre-order the complete seventh season of THE WALKING DEAD from JB Hi-Fi here with exclusive cover artwork:

Episode 51! Stu and Billy are back at the flicks this week to watch Spider-Man: Homecoming!

Spider-Man: Homecoming is directed by Edgar Wright (The Onion News Network, Clown, Cop Car) and stars Tom Holland (The Impossible, How I Live Now, Captain America: Civil War) as Peter Parker, the Friendly Neighbourhood Spider-Man.

After his experience with the Avengers in Captain America: Civil War, young Peter Parker returns home to live with his Aunt May. Under the watchful eye of mentor Tony Stark, Parker starts to embrace his newfound identity as Spider-Man.

He also tries to return to his normal daily routine -- distracted by thoughts of proving himself to be more than just a friendly neighborhood superhero. Peter must soon put his powers to the test when the evil Vulture (Michael Keaton) emerges to threaten everything that he holds dear.

As well as the films, Stu and I discuss what else we've been watching this week, and look over the latest in movie news.

As always it would make our day if you could take a couple of minutes to rate and reviews us on iTunes or drop us some feedback below! Really keen to have your input in the show.


                                      Get it from Whooshkaa here

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Episode 50! Stu and Billy are back at the flicks this week to discuss their Top 5 Films of 2017 So Far, and also catch a screening of Baby Driver.

Baby Driver is written and directed by Edgar Wright (Shaun of the Dead, Hot Fuzz, The World's End, Scott Pilgrim vs. the Wolrd) and stars Ansel Elgort (The Divergent Series) as talented getaway driver Baby, who relies on the beat of his own personal soundtrack to be the best in the game.

After meeting the woman (Lily James) of his dreams, he sees a chance to ditch his shady lifestyle and make a clean break. Coerced into working for a crime boss (Kevin Spacey), Baby must face the music as a doomed heist threatens his life, love and freedom.

As always it would make our day if you could take a couple of minutes to rate and reviews us on iTunes or drop us some feedback below! Really keen to have your input in the show.


                                      Get it from Whooshkaa here

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Goodbye June, you were a tonne of fun. 38 films later and boy am I in need of a lie down. After much deliberation Martin Zandvilet's Land of Mine has ousted Get Out from the top spot. Courtesy of the Sydney Film Festival screenings; I Am Not Your Negro, Call Me By Your Name and Happy End have entered the top 10. Other newcomers include 20th Century Women and Edgar Wright's Baby Driver.

Please check out my lists for January, February, March, April and May. If you agree or disagree with any of the films on my list, feel free to sound off in the comments or come over and play on our Facebook page.

- Stu

1. Land of Mine
2. Moonlight
3. Get Out
4. I am Not Your Negro
5. Call Me By Your Name
6. Baby Driver
7. Happy End
8. 20th Century Women 
9. The Salesmen 
10. Trip To Spain

Films watched this month:

20th Century Women
Hounds of Love
The Promise 
Ana, Mon Amour
The Ornithologist
Waiting for Giraffes
The Nile Hilton Incident
Whitney: Can I be Me
Taste of Cherry
My Year with Helen
Happy End
Ingrid Goes West
The Wall
The Hidden Fortress
Wonder Woman
I Am Not Your Negro
 Mifune: The Last Samurai
Abacus: Small Enough to Jail
On Body and Soul
Rough Night
Call Me By Your Name

God's Own Country 
It's Not Dark Yet
The Little Hours
The Farthest 
The Beguiled
All Eyez On Me
Transformers: The Last Knight
Baby Driver 
The Villainess

Episode 49! Stu and Billy are back at the flicks having attended the the second week of the Sydney Film Festival, and also managing to watch Transformers: The Last Knight.

Transformers: The Last Knight is the 5th installement of the live-action Transformers film series. The films sees Humans are at war with the Transformers, and Optimus Prime nowhere to be found after the events of the previous film. The key to saving the future lies buried in the secrets of the past and the hidden history of Transformers on Earth.

Now, it's up to the unlikely alliance of Cade Yeager (Mark Wahlberg), Bumblebee, an English lord (Anthony Hopkins) and an Oxford professor (Laura Haddock) to save the world.

Also in this weeks episode we also recap the films we've seen from the second and final week of the Sydney Film Festival.

These include: Mifune: The Last Samurai, Graduation, Barbecue, Abacus: Small Enough to Jail, On Body and Soul, Kedi, A Fantastic Woman, Call Me By Your Name, The Promise, Porto, God's Own Country, It's Not Dark Yet, The Little Hours, The Farthest, The Beguiled, Okja, Blade Of The Immortal, Patti Cake$, The Party

We also have a special guest this week for our Transformers: The Last Knight discussion, Garth Franklin from the Dark Horizons website!

As always it would make our day if you could take a couple of minutes to rate and reviews us on iTunes or drop us some feedback below! Really keen to have your input in the show.


                                      Get it from Podomatic here

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To say I've been excited for people to finally check out Get Even is somewhat underselling it. Smartly mixing psychological horror with Bourne-style action, it was something of an oddity which greatly enthused me during the time spent with its demo. Now the full thing's out, I can rave further, and hopefully some of you will now get where I'm coming from.

Be warned, though, that the biggest, most daring thing I loved about Get Even is something I absolutely refuse to talk about. But I'll get to that.

I first checked out Get Even many moons ago, so I'll borrow from myself in terms of outlining the plot:

"You play as Cole Black, a Sean Bean-accented mercenary who starts the game tracking down a kidnapped young woman in a dilapidated house filled with armed men. After seemingly setting off a bomb whilst rescuing her, Cole wakes up four years later outside an abandoned mental asylum, with no memory of the time in-between. A mysterious figure named Red informs Cole that he is here to relive some of his memories, in order to ascertain how he got to the asylum, what happened to the girl, and why one of his most recent contracts may have something to do with both."

During that First Impressions review, I said that the game had the hallmarks of a David Lynch work with "a bit more terra firma to it". Having now finished the whole story, I'd actually say it's closer to a Christopher Nolan head-trip; the memory-reliving Pandora headset which your character spends the entire game wearing adds a strong Inception-like spin to proceeding. It might make a few plot turns somewhat predictable - of course, your memories are not entirely reliable - but I can assure you that the story comes to a more complete conclusion. Or, at least, my story did.

Most of what I said in that First Impressions review still holds here. The game is good at creating psychological horror and somewhat poor at creating an engaging FPS experience. Though the heavy story focus and reliance on your trusty super-sleuth smartphone involves not firing your gun as often as you might in Deus Ex or Hitman, when combat does get going it feels somewhat unintuitive and fairly unpolished. The lack of a HUD makes the experience more realistic, but the somewhat inaccurate aiming and occasionally poor hit detection on enemies means your stealth kill headshot might turn into a cover-blowing neck graze with little to no warning, even at point blank range. When there are a plethora of enemies around, particularly in the later levels, the game oscillates between Cole being sturdier than a fridge with legs, and Cole only being able to take one or two bullets to the knee before keeling over and dying. Maybe the realism's at play again - a headshot or tag on a vital area won't let many people in the real world get up afterwards - but given that the game goes to great pains in explaining that you're inside a simulation, and thus are not strictly bounded by the rules of reality, it feels a little disingenuous.

The CornerGun is also not the most efficient of weapons. It's useful in one or two missions, and is handy at solving a couple of minor puzzles. Ultimately, though, it's a gimmick with some relevance to the story and little relevance to the gameplay. Its ability to host a variety of firearms is neat, but considering the game insists - and, in some cases, demands - that players don't shoot nearby enemies wherever possible, it all seems like so much effort for no real gain. The ability to stick an SMG onto the CornerGun frame is immediately countered by Red informing Cole that if he kills too many people, the memory will destabilise. Granted, I spent at least one level killing anyone I could find and the game didn't throw me out of the memory, which leads me to believe the no-kill insistence is solely in service of the story. But I'll come back to that in a moment.

The one big area Get Even's improved upon since my First Impressions is its visual design. I left the demo feeling that, while immersive to a point, the background details were quite sparse and lacked refinement. Here, though, the full game has a few more rings in its trees, with map aesthetics looking a lot more detailed. A warehouse you must infiltrate is richly drawn with its massive industrial crates sporting a used look, an open air part of the warehouse littered with uniquely designed rubbish, graffiti and newspapers. The asylum Cole navigates has a number of different rooms which are each individually delineated, with in-depth designs making each cell and level of the asylum look and feel unique. Though the NPCs themselves stumble around with somewhat janky movement physics, they still look deadly and come in a variety of facial and sartorial models.

And really, I have to emphasise that the story is just so very, very good. Despite any shortcomings I've noted above, Get Even tells a gripping, enthralling tale of innovation, memory manipulation and redemption. However, to do so, the game does something that almost alienated me from it entirely.

The story of rugged mercenary Cole Black doing his thing - reliving memories, finding out how he ended up in the asylum, dealing with lunatics who are trying to kill him - is pretty good, but it becomes somewhat off-putting when Cole is continuously robbed of agency throughout. With Red fully in control of Cole's experience while within the Pandora unit, he is able to extract Cole from memories at a whim, depositing him back in the asylum and ordering him to head to the next room full of colourful psychos. This invariably comes whenever Cole is on the cusp of learning something crucial about the plot. After eight hours of this back and forth, the game got a little tedious. I wasn't happy that the protagonist wasn't just adrift, but practically a plaything of the tides; Red was really in control, and Cole was not. It made it impossible for Cole to have any kind of real victory in the game, or to proceed to the truth through his own impetus. I got a little fed up.

But then, Get Even did something which I had sort of predicted it might, but in a very unexpected way, and all of that tedium quickly evaporated for the game's final stretch.

I might do a spoiler space post a little later on, because it really is a plot and gameplay development which deserves to be talked about. But I'm keen to see how some of you folks react to things when you play the game for the first time. I should say, actually, the first of many. One thing Get Even makes clear is that this is a game designed to be played multiple times, with the user interface constantly reminding you that your actions - including who and how many people you kill - have consequences. As to the nature of those consequences, I can't say; I only played the game through once, alternately killing and stealthing it up, but the ending was still quite satisfying for me.

As excited as I was for Get Even months ago, my excitement has only sharpened after going through it cover to cover. Its technical faults and occasional narrative shortcomings are balanced by a strong overarching story, some fantastic voice acting and a wonderfully creepy soundtrack from Olivier Deriviere. I suspect it's a bit of a Rorschach test for many players who may not have the patience for such a weird, off-kilter piece. For my money, I'm seeing something excellent.

- Chris

Get Even is due for release June 23 on Playstation 4, Xbox One and PC.

Review copy kindly supplied to Geek of Oz by Bandai Namco Entertainment.

Attention Aussie film fans! To celebrate the release of It Comes At Night on July 6th we're giving away 5 double passes, thanks to Roadshow. To find out how to win, just head over to our Facebook page and find the It Comes At Night post. It's seriously that simple!

The film is a psychological thriller written and directed by Trey Edwards Shults and stars Joel Edgerton, Christopher Abbott, Carmen Ejogo, Kelvin Harrison Jr and Riley Keough.

Secure within a desolate home as an unnatural threat terrorizes the world, the tenuous order Paul (Joel Edgerton) has established with his wife and son is put to the ultimate test with the arrival of a desperate family seeking refuge. Despite the best intentions of both families, paranoia and mistrust boil over as the horrors outside creep ever-closer.