Alice Cooper: Welcome to My Nightmare (1975)

Alice Cooper: Welcome to My Nightmare (1975)

Alice's masterpiece began life as a concept album. It deviated somewhat from the original idea, but, personally, I still regard it as one due to how well its individual parts complement each other, despite their obvious compositional differences. It's like a painting in musical form, layered with vibrant textures and blurred lines that when followed lead back upon themselves.

Not all songs flow into each other effortlessly, but the order in which they're arranged is so deeply ingrained in my mind after decades of listening and re-examination that to remove or shuffle one would ruin the unifying essence that makes each one work alongside its neighbour.

The Wind of Amnesia (1993)

aka A Wind Named Amnesia (1993)

Dir. Kazuo Yamazaki

A peculiar wind blows across the world, erasing mankind's memories. It's like nature hit a reset switch: people forget how to speak; parents forget their children, and vice versa; drivers forget how to drive; doctors forget how to heal, etc. The knowledge in books remains, but no one knows how to read. With even basic life skills lost, how will humanity survive? And more to the point, do they even deserve to?

But like every post-apocalyptic scenario in fiction, not everyone is affected. A memory-wiped youth named Wataru meets one such individual and learns from him. Thereafter, Wataru journeys across America looking for something that honours his mentor / friend.

I'm a big fan of stories that encourage us to question what makes cultures tick, and by extension examine humanity's true worth. E.g., with a clean slate, can we do things better? With religion dead, will our unconscious fears cause us to invent it again? Post-apoc settings are a tremendous framework for that kind of thing.

Wheels of Fire (1985)

Wheels of Fire (1985)

Dir. Cirio H. Santiago.

If you're suddenly thinking of Manowar, then you have my utmost respect, but the movie predates the song by three years. Oh well; it was a pleasing thought while it lasted.

WoF is set in a post-apocalyptic wasteland scenario. With no law to stop them, many people get their kicks being total dicks towards other people. But not Trace (Gary Watkins). Trace is a man of some honour who mostly looks out for his sister Arlie (Lynda Wiesmeier).

If Mad Max rip-offs have taught me anything of value, it's that post-apoc survival requires a pair of well-worn leather kecks and a part luck / part skill ability to drive on dusty roads.

The acting is as you'd expect for this kind of thing, but the car chases are excellent; if someone was to edit them into The Road Warrior (1981) and claim it's an extended cut, then many people could be fooled.

The Wraith (1986)

The Wraith (1986)

Dir. Mike Marvin

The Wraith is 80s to its core, from the hairstyles to the music. It stars Charlie Sheen as a dirt bike riding new-guy-in-town who gets targeted by a group of racing thugs, the leader of which (Nick Cassavetes) has an unrequited hard-on for the same girl (Sherilyn Fenn) as Sheen's character.

Helmeted S+M guy is a mysterious spirit with a flash car and a score to settle against the gang previously mentioned, and not just because the leader is a sleazebag who chews gum with his mouth open and only keeps 'friends' out of fear.

The plot is pretty dumb, but its bizarre mix of drama, fantasy, and not-quite-sci-fi has just enough interesting ideas to keep this fan of the era happy. Racing scenes are good and Randy Quaid is memorable as a no-bullshit sheriff.

The Wicker Man: Novel (1978)

The Wicker Man (1978)

Authors: Robin Hardy and Anthony Shaffer | Page Count: 285

The phrase 'never judge a book by its movie' is generally applied one way, to defend a good book from the damage done to its reputation by a bad movie, but sometimes the opposite perspective is needed. Judging by how good The Wicker Man (1973) film is, I imagined the book to be at least equal in terms of impact, given that it's written by the film's director, Robin Hardy, and uses much of the dialogue from Anthony Shaffer's excellent screenplay verbatim. I've only myself to blame for that assumption not panning out as hoped.

The protagonist is Police Sergeant Neil Howie. On the surface he's an honest, steadfast Episcopalian Christian respectful of the laws of man and God.

Beneath that he's forceful and secretly judgemental of others. It's possible to view him as a haughty zealot who's quick to strike down those who challenge his beliefs, but that's only half the story. Deeper still, hidden from the world, he's inexperienced and fearful of his own desires.

The Wicker Man: Music (1973/1998/2002)

The Wicker Man (1973/1998/2002)

Composed, arranged and recorded by Paul Giovanni and Magnet

The OST contains film score and songs written for the film, some of which are sung by the cast. That may sound like a bad idea, but if you've experienced the film, then you'll maybe agree they deserve inclusion. It was written in 1973, released in 1998 and re-released with superior sound in 2002 but with less tracks and minor changes elsewhere. Still, it's the better option if all you want are the songs in the best quality.

Musically it's dark and beautiful pagan folk that'll either lull or repulse you, but one word of warning: key tracks contain samples of spoiler dialogue, so it's best if you watch the film first.

The Wicker Man: Film (1973)

The Wicker Man (1973)

Dir. Robin Hardy

Police Sergeant Howie (Edward Woodward) travels alone to a remote Scottish island to investigate the disappearance of a young girl, but the local villagers hinder his efforts at every turn.

Undeterred, the single-minded officer digs deeper and discovers things that shock and offend him, both on a literal and spiritual level.

The Wicker Man has singing, dancing, and Christopher Lee in a wig and summer dress. I'm sincere when I say it's perhaps the most unique British film ever made (certainly that I've ever seen, at least) and is arguably both Christopher Lee's and Edward Woodward's finest moment. Both men had a CV filled with superb work, many times over, so it's high praise indeed.

It's been described as "The Citizen Kane of Horror Movies," and while that means absolutely nothing in real terms (I don’t even consider it a horror film) it's undeniably atypical and for that alone deserves to be applauded, even if you hate it.

When Games Attack (2004–05)

When Games Attack

20 episodes, approx 25 mins each.

I was excited to see Dominick Diamond in another video games review show, because GamesMaster (1992-98) had been so good, but the excitement was short-lived. WGA was mostly bad. If it was a gaming peripheral, it'd be a Virtual Boy or a Nintendo Power Glove!

Whisper of the Heart (1995)

Whisper of the Heart (1995)

Dir. Yoshifumi Kondō

Based on a manga of the same name (by Aoi Hiiragi), WotH is a wonderful coming of age drama set in a typical suburb of Tokyo.

Its primary character is fourteen-year-old Shizuku Tsukishima, a junior high school student who loves books. Shizuku is a voracious reader who makes regular trips to the school library. She notices one day that many of the books she's borrowed that year were checked-out also by one other person.

For the benefit of anyone born after the turn of the millennium, it's important to note the era because before everything everywhere existed in a computer database, checkout cards were a real thing in library books. It isn't something the writers made up, and it wasn't exclusive to Japan. It's a true reflection of what folks my age might call a 'simpler time', before smartphones and social media, etc, and all the negativity that now exists as a result.

White Zombie: La Sexorcisto: Devil Music, Vol. 1 (1992)

White Zombie:

La Sexorcisto: Devil Music, Vol. 1 (1992)

La Sexorcisto was the predominant soundtrack to my time in art school, pulsing daily from a stereo cassette deck at the back of the room, which happened to be where I was situated.

Being inspired by the likes of Van Gogh, Hieronymus Bosch, and White Zombie was an exhilarating feeling that I hope will remain indelible in my memory for as long as I'm alive, for those same years were some of the most important of my life, thus far.

Musically the album's dominated by psychedelic, sludgy, almost stoner groove riffs that are undeniably catchy, conjuring images of midnight gatherings at a Hallowe'en carnival, presided over by vocalist Rob Zombie, a kind of rollercoaster preacher peddling bedevilled dreams to an audience hungry for stimulus.

WitchCraft: La Terreur (1998)

WitchCraft: La Terreur (1998)

Author: James Robinson  |  Illustrator: Michael Zulli  |  Page Count: 72 (24 x 3)

"[N]othing is for nothing."

'La Terreur' translates to 'The Terror', referencing a period in France's past (also known as The Reign of Terror) in which a bloody revolution took place as a percentage of the populace tried to turn the political climate from a Monarchy into a Republic. Wikipedia has more details if you want to brush up on the cultural and political happenings around which the story is set.

It's a sequel to WitchCraft (1994), but you don't need to have read the previous book because the only returning characters are The Hecate, three witches previously seen in the Sandman universe, and it doesn't continue the same story. It's a new adventure with them taking less of an active role. Instead, they're more of a catalyst. It's also a lot less enjoyable than the previous outing.

WitchCraft (1996)

WitchCraft (1996)

Author: James Robinson | Illustrators: Peter Snejbjerg / Michael Zulli / Steve Yeowell | Page Count: 135

"The fires of madness burn at a gentle heat, stoked by grandiose delusion."

The Hecate, also known as Maid, Mother, and Crone are three aspects of the same ancient Greek deity. Likewise, the three individual issues collected in the book represent three different eras, each one more aged than the last, structurally mimicking a part of the content.

The individual chapters tell their own story while also being a part of the same larger story. Each has its own prologue wherein we’re privy to the Hecate's thoughts and hopes for what eventually follows.

It begins with a brutal act of violence against a young priestess whom the Hecate show favour to. Her aspect and that of her tormentor are reincarnated over and over throughout the ages so that she can meet him again and again, until she’s able to sate the Hecate's need for bloody revenge. The witches aren't going anywhere; their longevity means that they can play the waiting game for as long as it takes.

A Nightmare on Elm Street: Films (1984-2003)

01. A Nightmare on Elm Street (1984)

Dir. Wes Craven

Prior to re-watching the first of the Elm Street movies recently, it had been well over a decade — perhaps even closer to two — since I'd last seen it, but I remembered almost every scene as if it was yesterday. It's because I'd watched it many times on an ex-rental VHS as a teenager. In all honesty, and accounting for nostalgia, it holds up rather well.

If you're not familiar with the set-up, it's the story of a group of teenagers, all of whom reside on the titular Elm Street, whose dreams are haunted by a killer with blades on one gloved hand. The killer's reasons for doing what he does are part of the film's plot, so I won't delve any deeper than that.

One of the movie's strengths is its atmosphere, and by polluting the safety net of the unconscious, by turning a place of retreat into a realm of pure terror for the story's protagonists, it sticks in the mind.

The Witches and the Grinnygog (1983)

The Witches and the Grinnygog (1983)

Dir. Diarmuid Lawrence | 6 episodes, approx 25 minutes each

A miniseries based on the children's book of the same name (1981) by Dorothy Edwards. I've not read the book, but I did watch the series back in the 80s when it was first screened on British TV. Once the titular Grinnygog appeared onscreen the memories of that time came flooding back to me - almost literally, I felt like I'd been hit by a driving wave of forgotten salad days.

The Grinnygog is a horned, cheeky-faced stone statue that's about the size of an average garden gnome. The little guy doesn't actually do very much besides look cool, but the majority of the important events that subsequently occur in the lives of the main protagonists happen as a result of his sudden appearance. Without seeming to do so directly, the Grinnygog influences and twists the threads of fate so that the correct people are in the correct place at the correct time.

Clone (2010)

Clone (2010)

Dir. Benedek Fliegauf

Films that elicit powerful emotions without the use of words often linger in my mind longer than films that use dialogue for the same. It's mostly because dialogue is a mechanical process that can be as alienating as it is beautiful, whereas silence can break a heart more effectively than a callous word.

The language of Clone (aka Womb) is the language of loss. It’s the story of Rebecca and Thomas (Eva Green and Matt Smith, respectively). When left alone, the emptiness in which Rebecca exists isn't a void - it’s a birthplace waiting for life to happen.

Until then, the heavy silences and recurring symbolism that drive the narrative forward will require a viewer's complete attention.

As is often the case with challenging and controversial works, it holds a lower than deserved rating on movie sites that use aggregate scoring. Personally, I'd score it a perfect 10.

Classics Illustrated: The War of the Worlds (2008)

Classics Illustrated: The War of the Worlds (2008)

Author: H.G. Wells | Adaptation: Harry Miller | Illustrator: Lou Cameron | Page Count: 49

'There being no further movements from the pit, horror gave way to an uncontrollable curiosity and I began moving closer.'

For thirty years (1941-71) the Classics Illustrated comic books adapted literary classics into the comic book medium for a younger audience to enjoy. (It can be more accurately thought of as 'Classics Adapted, Illustrated and Abridged', but that's not a catchy title.)

Originally issue #124, H.G. Wells' science fiction novel The War of the Worlds (1897) was chosen to be the first issue in a digitally recoloured reprint for a modern audience. I'm not an advocate of recolouring artists' works, but if it helps younger readers discover the stories of yesteryear, then I'll roll with it as best I can.

I won't be attempting a traditional story synopsis, but will share some thoughts on the book, in general.

The Way of the Dragon (1972)

The Way of the Dragon (1972)

Dir. Bruce Lee

Sometimes titled with the definite article and sometimes without, The Way of the Dragon is the film in which Bruce Lee fights Karate champion Chuck Norris in a Roman coliseum while a kitty cat spectator sits on high.

Beyond that it's basically the same old story: Bruce's character arrives from overseas and helps some family members that are being exploited (this time they're in the restaurant business); there's an attractive woman (the adorable Nora Miao) for him to engage with; a traitorous countryman weasels about; and it culminates in a death match that enables Lee to show how bad-ass he really was - his fists are lightning fast during the fight with Chuck.

Even though poor Chuck only gets three words of dialogue he makes an impression.

It was the only film that Bruce got to direct before he died; he did well, especially on the finale. He also wrote, co-produced and is credited as martial arts director. The commentary on styles and how a student can be proficient in more than one is something he taught in real life.

Warrior Queen (1978)

Warrior Queen (1978)

Dirs. Michael Custance / Neville Green | 6 episodes, approx 25 minutes each

A British TV series about Queen Boudicca of the Celtic Iceni tribe, played here by the striking actress Siân Phillips. It tells of the determined queen's campaign to unite the native tribes in order to drive from their homeland the occupying forces of the Roman Empire in the year 61 AD.

Aiding Boudicca in her struggle is druid priest Volthan (Michael Gothard), a man who hates the Romans more than most because of the slaughter they wrought upon his fellow druid practitioners, even going so far as to outlaw their sacred beliefs.

Volthan's personal agenda sometimes overrides rational judgements, making him something of a dangerous ally. Gothard sometimes overacts the part, but there's no denying his good intentions for breathing dramatic life into the driven character.

Wrathchild America: Climbin' the Walls (1989)

Wrathchild America: Climbin' the Walls (1989)

It saddens me to admit it but there's nothing spectacular about Wrathchild America's début album. That might seem a strange thing to write, but it's because the release is one of a small number of records that connects me to a place and era that really defined me as a person, even though I wasn't aware of it happening at the time.

So, while the album is an important one in my life, I know that in reality it's merely a decent late-80s Metal album with solid drumming, some respectable Iron Maiden moments, and Thrash elements that serve their purpose but never manage to drag the songs out of the mediocre pit.

Despite its failings, and my own sentimental reasons for remembering and every few years rediscovering its limited charms, I still genuinely enjoy Climbin' the Walls as a musical piece. There's a faithful (if uninspired) cover of Pink Floyd's 'Time' on side two, which is what first brought it to my attention a long, long time ago. When last I checked it was available on YouTube, if you're interested in hearing any of it.

Waterworld (1995)

Waterworld (1995)

Dir. Kevin Reynolds

The quick and easy way to describe Waterworld is to liken it to the Mad Max films but on water instead of land. However, what many people neglect to say is that, while there are moments that are indeed reminiscent of the good Mad Max film, i.e. The Road Warrior (1981), sometimes Waterworld is more like the travesty that was Mad Max: Beyond Thunderdome (1985), and the world doesn't need any more of that.

It's set during an undefined future date in which the polar ice caps have melted. The resultant elevated sea levels have left most of the world covered in undrinkable sea water.

The Mariner (Kevin Costner) is an inhabitant of that world. A drifter with a trimaran, he travels from place to place trading commodities (salvage, dirt, etc) with the small pockets of human civilisation that are scattered around. He's a guarded loner, avoiding human interaction as much as possible.