This week we dive headlong into one of the most baffling 80's video store hits, The Wraith, in which Charlie Sheen is a ghost or an alien or a ghost alien who gets revenge on the wily gang of Arizona cretins that murdered him by running them over with his magic ghost alien car.

The Wraith is a lot of things. Good is not one of them but it has a certain ineffable charm that makes it tremendously fun to watch in spite of its story being positively incidental to the rest of the movie. It casts the widest possible net to remind you of movies like Close Encounters of the Third Kind, Death Wish 3, and The Road Warrior. Do you like cool cars? Do you like explosions? Do you like aliens, ghosts, or ghost aliens? Are you willing to let slide about a dozen totally unresolved plot points and completely ignore the fact that this movie leaves you with more questions than answers? You will probably love The Wraith.

The soundtrack rules. Sheen seems completely unaware of the movie he's in. A pre-Twin Peaks Sherilyn Fenn is doing her best with what she has. Clint Howard gloriously answers our question: is it a wig? All this and more in our exhaustive breakdown of The Wraith from director Mike Marvin.

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This week we're joined by Mark Anastasio, program director for the Coolidge Corner Cinema in Boston to cash checks and bite necks with a look at Werner Herzog's ambitious remake of the FW Murnau's 1922 not-Dracula adaptation, Nosferatu. Mark has first-hand experience with Herzog, having hosted him at the theater numerous times and regales us with stories that we've never heard about the man before. He also does a pretty good Werner Herzog impression.

In this movie, Herzog is joined by his creative arch-frenemy Klaus Kinski in a unique existential twist on one of the genres most unimpeachable classics. Here, Count Dracula is bunched, broken old monster with no desire to live but no path toward death. He brings pestilence and horror from the old world to then-modern day Germany and meets his match with the one woman in the city with the knowledge and determination to destroy the beast.

Featuring Herzog's stunning visual storytelling and a few utterly bizarre performances, Nosferatu is unlike any horror movie you've ever seen in spite of it being a story told and retold dozens of times since the dawn of film.

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This week we're shaking off the despair of a nuclear war one-two punch and staying in the made-for-tv mode for something incredibly dumb. Where Threads and The Day After are significant television events, this week's movie is anything but. It's a baffling riff on both popular haunted house movies of the era and classic gothic horror but that's about as coherent as the vision gets. Everything that follows is an exhausting exercise in early 80's made-for-tv drivel.

Parker Stevenson, fresh off his run as Frank Hardy in the Hardy Boys Mysteries is joined by Lisa Eilbacher, Joan Bennet, and Slim Pickens for a stay at a far-too-modern for gothic horror house in southern California. Either the house itself, or the extremely sophisticated security system is in love with Eilbacher's character. We can't really figure it out. Ultimately it doesn't matter because the charm lies in precisely how artless and strange this movie is. Also, you get a few musical numbers.

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