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  • The Wraith Ending Explained
  • UPDATED: September 25, 2023

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“The Wraith” is a cult classic film from the 1980s that combines elements of action, romance, and supernatural horror. Directed by Mike Marvin, the movie tells the story of a mysterious young man named Jake who returns from the dead to seek revenge on a group of dangerous street racers. With its fast cars, thrilling races, and supernatural twist, “The Wraith” has become a beloved film among fans of the genre.

However, the ending of “The Wraith” has left many viewers puzzled and seeking answers. In this article, we will delve into the intricacies of the film’s conclusion and attempt to shed light on its mysteries.

Throughout the movie, it is revealed that Jake is not an ordinary human being but rather a spirit seeking justice for his untimely death. He takes on the appearance of a new student in town and begins targeting each member of the street racing gang responsible for his demise. As Jake eliminates each racer one by one in epic car chases, it becomes clear that he has some supernatural powers aiding him in his mission.

In the climactic final race scene, Jake faces off against Packard, the leader of the gang and his ultimate nemesis. The race is intense and filled with high-speed maneuvers and near-death experiences. Eventually, Jake emerges victorious, leaving Packard’s car wrecked and him fatally injured.

As Packard lies dying on the ground, Jake reveals his true identity to him. He explains that he is a ghost who has come back to exact revenge for his murder. With his dying breath, Packard realizes the error of his ways and apologizes for what he has done.

At this point in the movie, things take a surreal turn. A bright light appears above Packard’s body as he passes away. The light seems to be some sort of otherworldly force that takes Packard’s soul away. The light then moves towards Jake, enveloping him and seemingly taking him back to the afterlife.

This ending has sparked various interpretations among fans and critics alike. Some believe that the light represents redemption and forgiveness, allowing Jake to finally find peace and move on from his vengeful mission. Others argue that the light symbolizes a sort of purgatory, where Jake’s soul is trapped for eternity due to his violent actions.

Another theory suggests that the light is a representation of justice being served. By eliminating each member of the gang, Jake has avenged his own death and restored balance to the universe. The light could be seen as a reward for his actions, granting him closure and release from his ghostly existence.

Ultimately, the true meaning behind “The Wraith’s” ending is open to interpretation. Director Mike Marvin intentionally left it ambiguous, allowing viewers to draw their own conclusions. This ambiguity adds to the film’s mystique and leaves audiences pondering its deeper themes long after the credits roll.

In conclusion, “The Wraith” is a captivating film that combines elements of action, romance, and supernatural horror. Its enigmatic ending leaves room for interpretation and sparks discussions among fans. Whether you see it as a tale of redemption, eternal punishment, or justice served, one thing is certain – “The Wraith” will continue to intrigue audiences for years to come.




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After All These Years … Mike Marvin Talks The Wraith

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A dynamic if occasionally confusing confectionary of Clint Eastwood, David Lynch, John Hughes and George Miller, The Wraith remains one of the definitive guilty pleasures of 80’s sci-fi horror and a perennial favorite for those nostalgia nights in the company of a few select friends, a six-pack of beers and a bag of chips. In spite of its dated synth/soft rock score, awkward dialogue, bewildering concepts and – for the most part – unsympathetic teenage ciphers, it does retain a sleek brio and self-confidence that continue to hold the attention.

wraiths - After All These Years ... Mike Marvin Talks The Wraith

Michael Doyle: What was your background in film prior to writing and directing The Wraith ?

Mike Marvin: I came into film through the world of ski movies. I started out making ski movies at Lake Tahoe, and then I began writing scripts in an attempt to sort of make the transition into the mainstream of Hollywood. So I started writing while I was still doing skiing and sports documentaries. I later supervised the ski sequences for a number of films. One was a film that I wrote, produced and directed all the ski action for that was entitled Hot Dog: The Movie – which I actually plan on remaking this winter and next winter. The other was another cult movie called Better Off Dead with John Cusack.

MD: Weren’t you also involved in the ski sequence for the James Bond movie The Spy Who Loved Me ?

MM: What I did was I designed the base-jump part of that opening sequence. In other words when the guy skied off the edge of the cliff and popped the parachute. We had actually done that a couple of years previously and it was subsequently used in The Spy Who Loved Me, but it’s sort of uncredited. It was a very specific thing, but no, I didn’t actually work on the movie per se.

MD: How did the opportunity to make The Wraith come along?

MM: The Wraith originated over at Disney Studios with Kim LeMasters, who was one of the head of development guys over there. He wanted to do a car action movie, and so we started working together to get it made.

MD: The Wraith is essentially a western. We first see Sheen emerging from the wilderness on his motorized steed like a traditional western hero; he has scars on his back like the reincarnated sheriff in High Plains Drifter , and at the end of the film we have a character shouting “ Come back! ” in a reference to Shane .

MM: Yeah, that’s right. Exactly.

MD: I’m speculatingn, but were those films an influence on the writing the script?

MM: Yes, they were. I was a fan of those movies and still am actually. I mean, the story of The Wraith is a little bit like High Plains Drifter – a little bit – so I would have to say yes. It was basically a sort of western car action movie with some other stuff in there, too.

MD: The film also recalls the vigilante movies that prospered in the wake of Death Wish like Vigilante and Young Warriors . Were those an influence also?

MM: No, they were not. I was never really dealing in a revenge-fantasy kind of thing. We were never in that place. I mean, ultimately it is a revenge movie, but I never thought the emotional underpinnings of The Wraith to be a revenge or vigilante movie, but a lot of people thought it was. I don’t know. Maybe I was just too close to it.

MD: The character of Skank says, “ Whoever he is – he’s weird and pissed off ,” which is of course a famous line from John Carpenter’s The Thing .

MM: Yeah, we stole that line. [Chuckles] I loved that movie. When we shot that scene, Dave Sherrill [Skank] yelled that out, and I don’t remember what was in the original script, but it was something else. I thought it worked and sounded funny, but yeah, it was originally from John Carpenter’s The Thing. I think that film is great. It’s one of the great unassisted horror movies in the sense that everything they did was a practical and mechanical effect. Obviously, there was no CGI back then like there is today to make things easy. Can you imagine what it was like for those guys to just sit there and hope that the crab-looking spider beast walked across the room right? I think The Thing is Carpenter’s best film.

MD: Have you always been a fan of horror movies? Which ones do you admire?

MM: Well, none that include car action, but I was inspired by a few. The first horror movie that really scared me was a Warner Brothers film called Them, which starred James Whitmore. That was great, and interestingly enough I actually got a shot at doing a remake of that. There were a couple of other movies that I liked, but the whole horror-scary thing didn’t happen for me until much, much later. You know, to me The Exorcist was a real horror movie and Alien was a real horror movie, so those three were big influences on me in my approaching the dark side, even though The Wraith never really comes up as feeling like any one of those movies except for maybe the desert being in Them and The Exorcist.

MD: You cast several young actors with rather famous parents such as Charlie Sheen, Nick Cassavetes and Griffin O’Neal. Was that a deliberate commercial consideration on your part?

MM: Not on my part. No, I remember that I originally wanted Johnny Depp for the film, but the studio didn’t want him. It was the head of the studio that wanted the sons of the movie stars, but in the case of Griffin O’Neal I actually wanted Johnny Depp for that part, but I was overruled on that one.

MD: Nick Cassavetes, who plays Packard, the leader of the bad guys, is now a successful director. What was he like to work with back then?

MM: He was great. I liked working with Nick Cassavetes a lot. Not only was it fun, but we’ve remained friends for the last twenty-five years since we made the film. In fact, I talked to him just yesterday. I’m helping him produce his next movie.

MD: Though Sheen toplines the cast, he is almost a peripheral figure for a lot of the running time, who flits in and out of the movie. Would you agree with that?

MM: Yes, I do agree, but I think the presence of that character is always there even when he isn’t on-screen. I mean, when everybody thinks about that movie, they still think of Charlie and know that he’s in it. I don’t know. That’s actually a good question.

MD: How much input into the script did the actors have?

MM: None. Zero.

MD: I had heard that they changed some dialogue and improvised different things in an effort to develop their characters.

MM: Well, there were a couple of things, but it was really minimal. Aside from sporadic ad libs the script was pretty much shot as it was written. I mean, there was a little improvisation, but it wasn’t very much really. Either that or I don’t remember it very well. [Chuckles]

MD: What are your memories of some of the other members of the cast?

MM: They were all great. Randy Quaid and I met on that movie, and we became good friends and played golf together for a long time after that. I really liked Randy a lot and have always been an admirer of his work. Obviously, Charlie, Nick and I have remained very good friends, but I haven’t heard anything from Griffin O’Neal in years. Jamie Bozian and I have stayed close, too, but I haven’t spoken with Sherilyn Fenn since 1986 … and those were the primary cast members.

MD: And Clint Howard, of course, whose Eraserhead hairstyle was quite literally one of the film’s high points. Was that a nod to David Lynch’s movie?

MM: Yes, it was. That hairstyle was my idea. As a matter of fact I meant to say that Clint sent me an email just two days ago. I wrote him a letter to check in and see if he wanted to play some golf. He and I have also remained good friends, and the same thing with his father, too. I used his father, Rance, in a movie I directed in 1991.

MD: The car chases and stunts in The Wraith are all well executed and exciting. How difficult were they to shoot?

MM: They were very difficult because originally I had something like three weeks to shoot them, and on the second day of shooting we crashed a car on the mountain and one of our guys [camera operator Bruce Ingram] was killed and the other guy was left a paraplegic. Everybody else was really hurt desperately, and suddenly we went from having two and a half to three weeks to get all that stuff done to saying, “Hey, let’s just get this movie over with.” So I shot all of those car sequences in about eight days.

MD: That accident obviously cast a pall over the whole movie.

MM: Yes, it did. [Sighs] Yeah, it did.

MD: How did you settle on the model for the Wraith’s car?

MM: The Wraith’s car was a Dodge-PPG. It was actually the pace car for the Indianapolis 500, and I have to say I didn’t really have a vision for the car itself. It was just a stroke of good luck that that car existed, and to be honest with you, I don’t even remember how that car came to be used. I’m sure it came through the art department or somebody knew of it and brought it to me and I just said, “Oh, that’ll work,” and that’s how it happened. I do remember that it wasn’t easy for us to get those cars. Dodge Pittsburgh Plate Glass found the original fibreglass molds when we built the duplicate cars and each one of those cars cost us about $50,000, and that was way back in 1985.

MD: One critic suggested that the prominence of the car’s logo during certain scenes implies “ an intriguing link-up between big business and the after-life. ” Is that something you were intending?

MM: No, I never wanted to use any logos or decals or any of that business in the film. I didn’t want to tie it in to Dodge or anybody else. What happened was in the one scene where it’s prominent right at the end of the picture – that was an uncreative producer’s solution to an uncomplicated problem. In other words – “Shoot that!” I was just told to shoot it. I said, “No, I don’t think so,” but at the end of the day it was my first movie and I didn’t really have the final word on some of the things like that.

MD: Would that producer be Buck [“The Twilight Zone”] Houghton?

MM: No, Buck Houghton would never have allowed that to happen. No, it was John Kemeny. Buck was a great man and it was because of him that the movie got made in the first place. He was pushed out by the studio and Steve Deutch in a rather typical, unsavory Hollywood way. I mean, Buck knew what he was doing. He was an expert, but favors were owed and debts were owed and so the movie was handed over to a basically incompetent producer.

MD: Out of curiosity, what was the budget for the film?

MM: I don’t know what the exact budget was, but it was about 2.9 million dollars. That’s always sort of remained a secret. A lot of money was stolen off that movie.

MD: The visual effects by Peter Kuran and Alan Munro are very impressive in spite of the low budget.

MM: Yes, they are. Well, Peter is a real talent and so is Alan Munro. My memories of working with those guys are all good. Alan was actually in charge of all that stuff and Peter worked really closely with him. Alan actually designed the title sequence for The Wraith, and he later became a pretty successful commercials director.

MD: There have been lengthy discussions on the Internet dedicated to the significance of the Wraith’s glowing leg braces that successively disappear. Would you care to clear that up for us?

MM: Yeah, sure. As the Wraith settles the score with the members of Packard’s gang and knocks them off one by one, he begins to get stronger and stronger. Then one more piece of what is supposed to be holding him together artificially begins to disappear. His crutches are then starting to vanish as he gets his satisfaction.

MD: There also seems to be confusion in some audience members’ minds about how the Wraith acquired the futuristic car and suit, and for that matter what exactly he is. Some think he is a ghost, others an alien.

MM: Okay, I always envisioned him as emerging out of a sort of secondary dimension or reality, but I never saw him coming back from the dead as a ghost. I always thought he was a dimensional crosser, so when he was killed in the first place, instead of him going into the abyss or into the darkness or the void, whatever you want to call it, he goes to a place where he is able to literally cross dimensions. Originally, my idea with the Wraith car was instead of using a steering wheel, he would reach into the dashboard itself and then we would cut to inside where the engine was and we would now be in outer space. His hands would be sort of through the firmament and he would control the car almost by some kind of electrical connection. That was the idea.

MD: When the bad guys are killed, their eyes are burnt out. What’s happening there?

MM: Right, there were two reasons behind that. Firstly, it was kind of like St. Elmo’s fire or the strange way that lightning strikes and burns everything around it, sometimes the most obvious thing remains intact. In this case it was completely the reverse. The cars would go down a fiery inferno and everything inside would melt, but the bodies would be untouched. I don’t know if you’ve heard anything about when bodies spontaneously combust and they burn up but everything around them is fine. Again, in The Wraith it’s the reverse. Everything around these guys burns, but the only thing on the bodies that burns out is their eyeballs. Now that being said, the second part of this idea is that the last thing the bad guys see before they die – if you notice the way I structured the collisions – is a bright flash. There is always a flash frame in there, and that’s what happens – car gone, eyes gone, body intact.

MD: The soundtrack features a lot of established rock and pop artists such as Ozzy Osbourne, Robert Palmer, Billy Idol and Motley Crue. Did you have any problems securing those songs?

MM: No, that was all done through Scotty Druthers, and in truth one of the big creative battles I had on the movie was over the music. I wanted it to have more of a score. I particularly didn’t want to have Ozzy Osbourne on there. The other guys I was okay with and also Bonnie Tyler, who recorded an original song just for the movie. I felt that some of the driving sequences would have been better served with a hard driving score rather than rock and roll songs, but you know what? I think part of why the movie succeeds is because of those songs. I was probably wrong about that. I mean, everybody really liked how those songs connected with those sequences, even though I didn’t necessarily agree with it.

MD: As well as the music, the film is also really of its time. It’s rife with those 1980’s preoccupations of cars, babes, bullies, nerds and clean-shaven loners.

MM: Yes, exactly. Yeah, you’re absolutely right about that. All of that stuff was very popular back then.

MD: Did you have final cut on the film?

MM: No, I didn’t have final cut. I mean, every day on that movie was a fight for the cut. Interestingly enough, I wasn’t interfered with too much until I actually delivered my cut. Then it got really dicey and difficult, but I got about ninety percent of what I wanted.

MD: What exactly was lost in the excised ten percent?

MM: Well, originally The Wraith was structured differently and there’s really no point in getting into it now, but the first act of the movie was much different and better. The sub-story of how Randy Quaid figures out what’s going on went straight out. There was a line in The Exorcist when Father Merrin finds a medallion or something buried in the rocks when he is out on a dig in the dessert. He looks at it and goes, “Wrong period,” and then he says something like “You fight evil with evil.” Anyway, in the scenes in The Wraith that weren’t used – some of which weren’t even shot – Randy’s character enlists the psychic connections of a prairie witch, and he starts piecing it all together. The studio didn’t want to spend the money and finish that storyline out and so we only shot part of it and the rest was left on the editing room floor. We literally shot everything around the prairie witch, but I didn’t have her and I didn’t have those scenes. It’s a shame because it would have been very cool.

MD: We’ve spoken of the tragic and frustrating aspects of making The Wraith , but can you share anything that was perhaps amusing or diverting about the shoot?

MM: Well, the most amusing thing to me is that we are still discussing this movie twenty-five years after it was made! The Wraith wasn’t a movie where – and as I think about it now I’m trying to recall a moment of levity, something that was funny or fun … oh, I can give you one. The whole time I was doing the movie I didn’t know that Johnny Depp was living in our hotel with Sherilyn Fenn. He was her boyfriend at the time and was holed up in the hotel room and I never saw him once when I was shooting the picture! The entire time we worked on the movie he was there in the hotel with us, and I didn’t find that out until afterwards. I wish I could say something that was funny or light, but when a guy gets killed on a picture because the producers are pushing too hard, it’s really hard to find amusing anecdotes.

MD: Did you ever consider making a sequel?

MM: Yes, I probably did three different scripts over the years. I did a draft about ten years ago and then another draft about four months after that, and right now I think probably the best thing to do would be to remake the movie. The Wraith was obviously copied in films like XXX and The Fast and The Furious, but if you look at The Crow, that’s definitely a copy of The Wraith, almost beat by beat.

MD: What were your ideas for the sequel?

MM: Well, there is a script out there right now actually that David Sherrill wrote about a year ago. I can’t remember any details about that one, but the idea for my script was basically the same as the original movie but everything was in reverse. This time the guys coming back were Packard’s gang and they were the complete opposite of Charlie Sheen’s character. Where he was trying to right wrongs, they are still just plain bad guys and they come back and terrorize everybody. They were still dimensional crossers, showing up in their cars and all that stuff, but Charlie comes back and fights them again and meanwhile all the living humans are caught in the middle of it. I don’t know if it would have ever worked, but at least we tried.

MD: In the twenty-four years since the release of The Wraith , how do you think it has aged as a film?

MM: Well, I saw it at a theatre screening over here about six months ago and I really had mixed feelings about it. To be really honest with you, I don’t understand why it has become such a cult movie and why there are fan clubs all over the world dedicated to it. I mean, The Wraith is a strange movie. For one thing, most people can’t even say the title! If I’m talking to somebody and they say, “What movies did you direct?” I’ll say, “The Wraith,” and they always go, “The what? The Race? Did you say The Race?” [Sighs] I get that a lot from people. I then say, “You know, like the Wraiths from Canterbury,” and then finally they’ll go, “Oh, The Wraith!” Okay, there you go.

MD: How do you feel about that title?

MM: I never thought it was a great title, actually. The original title for the film was Turbo Wraith Interceptor. I wanted to go with Turbo Interceptor, which was a steal from The Road Warrior because Mel Gibson’s car in that movie was the last of the Turbo Interceptors.

MD: You say you are confused by the lasting affection people have for the movie, but you must be pleased about that.

MM: Yes, I am. Interestingly enough, I’ve had the good fortune of having The Wraith and Hot Dog: The Movie become cult movies in the United States, particularly in the case of Hot Dog, which is a significant cult film. As far as The Wraith is concerned, I get a lot of calls from fans around the world about it, but in the last ten years I’ve probably had maybe a half dozen inquiries from people in the movie business as to what the plans are for doing a sequel or remake. It must have a struck a chord with a lot of people because there’s actually a guy out there that is building Wraith cars! His name is Lyle and I had lunch with him about two or three years ago. He’s built a Wraith car for each one of his kids, and they are beautiful. They look like the real thing. I told you about us getting the original molds to build the Wraith car, and back then everybody thought that the molds had been destroyed so another car couldn’t be built but this guy found them at a junk heap someplace. I don’t know how he did it, but somehow he traced them down and rebuilt about four of five of them.

I mean, there really is a sort of fanaticism connected to this movie that doesn’t exist with The Fast and the Furious or The Crow or any of the others but on this one it does. I don’t know if in twenty-five years they will be talking about The Fast and the Furious, but it seems strange to me that there are fan clubs out there for The Wraith that are still talking about it today. People are really obsessed with this movie!

Order yourself a copy of The Wraith below. Big thanks to Mike Marvin for his time.

– Michael Doyle

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the wraith ending

The Science Fiction Horror and Fantasy Film Review

The Wraith (1986) poster

The Wraith (1986)

Rating: ★.

Director/Screenplay – Mike Marvin, Producers – Buck Houghton & John Kemeny, Photography – Reed Smoot, Music – Michael Hoenig & J. Peter Robinson, Visual Effects – VCE Inc (Supervisor – Peter Kuran), Art Direction – Dean Tschetter. Production Company – Turbo Productions.

Charlie Sheen (Jake Kesey), Nick Cassavetes (Packard Walsh), Randy Quaid (Sheriff Loomis), Sherilyn Fenn (Kerry Johnson), David Sherrill (Skank), Jamie Bozran (Gutterboy), Matthew Barry (Billy Hakins), Clint Howard (Rughead), Griffin O’Neal (Augie Fisher)

A small Arizona town is terrorised by a gang of teens who strongarm drivers into car races in which they forfeit their vehicles if they lose. Newcomer Jake Kesey arrives in town and draws the wrath of gang leader Packard Walsh when he becomes interested in Kerry Johnson who Packard sees as his. At the same, a mysterious black turbo-charged Porsche appears, its hooded driver taking up the gang’s challenges. However, the races always prove fatal for the other drivers, with the Porsche’s ghostly ability to reconstitute itself showing it to be of supernatural origin.

The Wraith was a horror film, largely forgotten today, that earned a theatrical release during its day. The film is mostly remembered today for featuring performances the several children of better known actors – Charlie Sheen, just before he gained wider exposure in Platoon (1986), Nick Cassavetes and Griffin O’Neal, as well as Sherilyn Fenn just before she became a David Lynch starlet.

is an uncredited reworking of Clint Eastwood’s High Plains Drifter (1973). The much superior High Plains Drifter was a Western in which Eastwood played a lone gunslinger who rode into town and put the townspeople through a bizarre series of humiliations, in the course of doing so revealing that he was a supernatural avenger exacting retribution for a murder they had conspired to commit. The Wraith substitutes Charlie Sheen for Eastwood’s Man With No Name and a mirrored-black Porsche Turbo for a horse, but tells essentially the same story and with the same twist ending. Alas, The Wraith lacks any of the moral complexity of High Plains Drifter – the victims are all one-dimensional and deservous, not to mention badly overacted.

The Wraith seems more of a music video than a film, a shallow plot shot with quick pace and with a banal rock score pounding from the speakers at every opportunity. It is a film made by and for muscle-car boneheads. People in the film seem indistinguishably identified with their cars. When they are killed, it is the car we see blowing up in loving detail, not them dying; the supernatural avenger takes the form of a car; and the greatest offense in this particular world seems to be offering a ride to the girl the lead hood sees as his. Certainly, the idea of the supernaturally avenging sports car is something that has an amusement – one can easily imagine The Wraith being turned into a comic-book, something along the lines of Ghost Rider or The Crow .

Director Mike Marvin emerged as the screenwriter of teen makeout movies like Six Pack (1982), Hot Dog – The Movie (1984) and turned director with Hamburger – The Motion Picture (1986). Marvin subsequently directed the children’s films Wishman (1991) and the martial arts fantasy The Dragon’s Gate (1999), both of which have been little seen. Subsequent to that, he started directing erotica under the name of Jake Kesey (the same character played by Charlie Sheen here).

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The Wraith (1986)

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SHORT VERSION: The Wraith is Jake in disguise, and Jake is actually Jamie in a new form. He gets his revenge on Packard and his gang for murdering him, killing all of them except for Rughead, who is spared because he played no part in the murder. Afterward, he reveals his true identity to Keri, saying that this form was the closest he could come to who he once was, and he says that they were meant to be together. He leaves her for a bit to give his Turbo Interceptor to his younger brother Billy (who realizes soon after that Jake is his deceased brother), and then he returns to pick her up, and they leave town for parts unknown.

LONG VERSION: After Oggie (Griffin O’Neal) and Minty (Chris Nash) get killed by the Turbo Interceptor and its driver in street races, Sheriff Loomis (Randy Quaid) warns Packard (Nick Cassavetes), Gutterboy (Jamie Bozian), Skank (David Sherrill), and Rughead (Clint Howard) that if they try to kill whoever is wiping out their gang, then they will be on the fast track to the gas chamber. Back at their warehouse, later on, Packard leaves the other three to “take care of some business”, and Rughead then declares that he is leaving town, afraid for his life and convinced that the driver of the Turbo Interceptor is a real-life wraith out to get them.

As Rughead is leaving the property, the Turbo Interceptor suddenly appears and drives past him full speed into the warehouse, blowing it up and killing both Gutterboy and Skank. However, it then leaves without doing a thing to Rughead. When Loomis shows up soon after with his men, Rughead confesses to him that Packard and the others had killed Jamie (Christopher Bradley), but he found out afterward because he was absent when the crime was committed, and he is sure that Jamie is the driver of the Turbo Interceptor. Loomis visits Jamie’s brother Billy (Matthew Barry) at the diner where he and Keri (Sherilyn Fenn) work and learns of how Keri had told him that she was present the night Jamie was killed, but she was knocked out in the midst of the murder and didn’t know who did it. Meanwhile, Jake (Charlie Sheen) drops off Keri at the diner, but before he goes, he tells her that she must stand up to Packard soon, and he drops hints that he is in fact Jamie in a new form, and tells her that he has come a long way for her and that his time here is just about over.

Having watched their conversation from afar, Packard comes up to Keri and forces her into his car, and he beats up Billy when he tries to interfere. As they drive off, Packard tells her that they are running away to California (undoubtedly to escape the Wraith), and Keri finally stands up to him by getting him to admit that he and his gang did kill Jamie, and then telling him that he can kill her, too, but he could never make her love him. Packard stops the car and has them both get out, but as he looks to threaten Keri with his knife, the Turbo Interceptor shows up. Packard wastes no time in challenging the driver to a race, and he meets his end when the Turbo Interceptor blows up his car in a head-on collision. Walking back to town alone, Keri hears the explosion, but she just keeps on walking. Upon seeing the aftermath of the crash, Loomis decides to stop pursuing the Wraith, not only because he understands that it only came to kill Packard’s gang, but also because he has accepted that it is just something that can’t be stopped.

Just as Keri is arriving home, the Turbo Interceptor pulls up in front of her. The Wraith then steps out, and in a series of brilliant flashes of light, he sheds his outfit to reveal Jake underneath. Jake soon admits to Keri that he is indeed Jamie, and explains that this new form was the closest he could come to who he once was. He tells her to think of this as a second chance, saying that they were meant to be together. He then leaves her to tend to one last piece of business but promises that he’ll be back, and strangely tells her that they’re going on a short trip, so she should pack light. He then visits Billy at the diner and says goodbye, and then gives him the Turbo Interceptor. When Billy asks “Who are you, bro?”, Jake replies, “You said it, Billy.” After Jake takes off on his motorcycle, Billy soon figures out that Jake is really his brother, and tearfully calls out to him.

Jake picks up Keri, and they ride off together into the night towards parts unknown. Loomis watches them go from afar, and though he seems to believe that Jake is both the Wraith and Jamie, he makes no effort to follow him.

the wraith ending

  • Actor: Charlie Sheen , Nick Cassavetes , Randy Quaid , Sherilyn Fenn
  • Director: Mike Marvin
  • Genre: Action , Horror , Romance , Sci-Fi , Thriller
  • Cast & crew
  • User reviews

The Wraith

  • In a small town in Arizona, a mysterious man/spirit descends from the sky and manifests in a sports car and targets a local violent road-racing gang of motor heads, headed by a ruthless bully who'll do anything to get what he wants.
  • Packard Walsh and his motorized gang control and terrorize an Arizona desert town where they force drivers to drag-race so they can 'win' their vehicles. After Walsh stabs the decent teenager Jamie Hankins to death for being intimate with a girl whom Walsh wants for himself, the mysterious Jake Kesey arrives, an extremely cool motor-biker with an invincible car. Jake befriends Jamie's girlfriend Keri Johnson, takes Jamie's sweet brother Billy under his wing and manages what Sheriff Loomis can not - the methodical and otherworldly elimination of Packard's criminal gang. — KGF Vissers
  • A small desert town has been harassed for months by a gang of drag racers, but so far no one has done anything to stop them. One day, a ghostly black car shows up, challenging members of the group to race, then killing them one by one. Neither the gang nor the police can catch the car or its driver, but some investigating into the gang's past may reveal just who's behind all this. — Jean-Marc Rocher <[email protected]>

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Sherilyn Fenn, Charlie Sheen, and Nick Cassavetes in The Wraith (1986)

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The Wraith

The Wraith ( 1986 )

6 questions.

Directed by: Mike Marvin

Starring: Charlie Sheen , Randy Quaid , Nick Cassavetes , Sherilyn Fenn

Genres: Action , Horror , Romance , Sci-fi , Thriller

Question : What did they use to create the sound of the Turbo's engine?

Question : Were there scenes in the movie that were shot but deleted? There is evidence in the movie that at least two scenes were cut. (1) Near the beginning of the movie, there is a scene outside Big Kay's Burgers in which Packard is bullying Billy Hankins to make him race his Triumph. While that's going on, the Turbo shows up and revs its engine. Packard asks Rughead what kind of car that was and Rughead answers that he didn't know but would find out after they had added the Turbo to their "collection." Oggie Fisher then asks Packard "come on, let me take him this time." This suggests that the gang had encountered the Turbo earlier in the movie and had not been able to catch it. Also, when Oggie lines up with the Turbo to just before the race, Packard tells Oggie "I want you to rip this guy a new asshole." Why was Packard so angry at the Turbo's driver if he had never seen him before and didn't know how fast the Turbo was? There must have been an earlier scene involving the Turbo and Packard's gang. (2) In the scene in the warehouse, just before the Wraith shows up with the shotgun, there is an odd conversation between Packard and Minty. Packard starts to ask Minty something but Minty interrupts, saying "yeah, don't worry, I got those elbow joints sold to the Dallas boys for $2900." Packard then smiles and says "yeah, that old man was pretty pissed off." There must have been an earlier scene where the gang rips off the "old man" and steals a bunch of elbow joint to resell and raise money. That would explain how they got the elbow joints, why Minty sold them and why Packard said what he did. Anyone know about deleted scenes?

Question : What are those devices we see disappear from the wraith's arm and after the second and third race supposed to be?

Chosen answer: I believe they are markers to show how many people are left to take revenge on for his death.

The problem with that answer is that the Wraith had to kill five people (Oggie, Minty, Skank, Gutterboy and Packard) and he only had four of those metal braces. If he had one for each gang member he wanted revenge on, he would have had five. I think he was only given four chances to crash his car and reassemble, and once they were gone, that was it. That's why he killed Skank and Gutterboy at the same time.

Question : I'm a bit confused by the end of the movie. When Jake takes off with Keri, where was he taking her? Was Jake going to start a new life with Kari somewhere else or, was he going back to heaven and decided to take her with him?

Answer: He said he came back for her, only in a new face. So, yes, like in the old westerns the hero rode off into the sunset with his lady love.

Question : Why didn't the sheriff do anything about Packard's gang? Surely someone must have wanted to file a complaint at some point? And if the sheriff isn't doing his job, why doesn't the state police step in?

Answer: After the first race where Augie is killed the sheriff says "I've been waiting to catch you guys in the act. Been waiting and watching." So we can assume there were complaints made however the sheriff may not have had enough evidence to shut them down completly. As far as the state police, I'm not sure. May be a jurisdictional thing.

I agree with this answer. Packard was very careful not to flagrantly break any laws. He even said this to Loomis in the "paper doll" scene later in the movie - Packard says that the gang hadn't done anything except "bust the speed limit."

Question : When Jake enters the gang members hideout with a shotgun why didn't he just kill them all right then since that's what his mission was?

Answer: That would be too quick and easy, he wanted them to suffer. They thought they owned the road, he wanted them humiliated, they died from their own carelessness. They were so determined to win they pushed their cars to the limit and disregarded all the rules of safety.


More for The Wraith

Visible crew/equipment : In many of the racing scenes the camera crew's shadows can be seen at the bottom of the screen. (Corrected in the DVD version).

Packard Walsh : And, uh, Skank, do me a favor, will ya? Get rid of that zombie-piss you're drinkin' before it turns you into a mushroom.

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  • 1 Appearance
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Appearance [ ]

As Jacob "Jake" Kesey, he is often seen outfitted in a denim jacket and jeans or a rawhide jacket, wearing sunglasses. When shirtless, he can be seen to have scars from multiple knife marks all over his back. But as The Wraith, he is outfitted from head to foot in black futuristic-looking biker armor with a black full-face motorcycle crash helmet, whose visor can be flipped up mechanically. He is also shown with multiple braces, resembling those which trauma victims wear to assist them in regaining their mobility, attached to his armor's arms and legs; these disappear whenever he kills a member of Packard's gang.

Biography [ ]

Little is known about James Hankins, nicknamed "Jamie", prior to his transformation into Jake Kesey and The Wraith. What is known about him is that while he was alive, he was living in Brooks, Arizona. (No such city, town, or community as Brooks, Arizona actually exists.) He was in love with and going out with a young woman named Keri Johnson, who still lived in Brooks. However, unfortunately for him, envy arrived in the form of Packard Walsh , the evil leader of a gang of road pirates who challenged people to drag races, with their cars as collateral. Packard, who was insanely jealous of anyone who might even look at Keri, stormed in with the gang during a night of passion between Jamie and Keri. They knocked Keri out and proceeded to beat and stab Jake multiple times. Once they had finished murdering him, they loaded his bloody corpse into the trunk of a car, pushed the car off a cliff, and blew it up with a well-timed shotgun blast.

Alas for them, Jamie came back from the dead in two distinct but connected forms. The first form was that of the nice, mild-mannered biker named Jake Kesey, who was new in town. The second form was that of The Wraith, a black-suited, magitech-based--or possibly alien-restored--quasi-ghost, who was out to destroy those who had killed him. As Jake, he tried to rekindle his previous romance with Keri and encourage her to stand up to Packard, who, at this point, had intimidated her into being his girlfriend, with Keri being none the wiser of who Packard truly was till the very end. But as The Wraith, in addition to being armored in a black head-to-foot racing suit with its black full-face motorcycle crash helmet, he was armed with a laser-projecting weapon that resembled a shotgun, and he drove "The Turbo Interceptor," a futuristic-looking fast car, black in color like his armor, that could survive even the most gruesome of damage. Those killed in their crashes with it were left with their corpses naked but unscarred otherwise, except that their eyes were reduced to burned-out sockets.

The Wraith's antics caught the ire of Sheriff G. L. Loomis, who had originally been trying to catch Packard racing when he caught wind of this unknown foe. Though Loomis did his best to try to apprehend The Wraith, he did not quite care, since it was only Packard and his gang whom The Wraith was after; when Packard Walsh himself was eventually killed, Loomis said, "Roadblocks won't stop something that can't be stopped." He added, "It's over. There's nobody left in Packard's gang to kill."

One by one, The Wraith picked off Packard's gang, leaving him for last. Once the accomplishment of his mission of vengeance was completed, The Wraith approached Keri, revealing himself. In the end, he passed the Turbo Interceptor to Jamie's brother William "Billy" Hankins, while he rode with Keri out of town--and, presumably, out of the entire state of Arizona as well, apparently never to return.

Personality [ ]

As Jake, he is rather laid-back, if not somewhat cynical, but his heart is in the right place. He gets along with Billy Hankins, not letting him know who he is till the end. The romance he had had with Keri in his previous life is what drives him to keep going. He cares passionately about Keri and is determined to help her free herself from Packard Walsh.

But as The Wraith, since Charles Sheen and his stunt drivers had no lines whenever any of them were outfitted in the identical black racing suits they wore whenever behind the wheel of the Turbo Interceptor, writer-director Mike Marvin gave very little to go by. However, The Wraith's actions shape his personality. In the races, he has a habit of toying with all his victims before zooming ahead of each, stopping the Turbo Interceptor in front of them, and waiting for them to crash directly into him at high speeds, knowing full well that he will invariably survive all the said crashes, while they will not. Outside his car, the said toying comes into the fray to a much worse degree. Using his shotgun, he wrecks Packard's garage and, at one point, he appears tempted to shoot Packard himself then and there. The Wraith's actions cause "Skank," a member of Packard's gang, to describe him as "weird and pissed off." At one point, The Wraith even takes his toying as far as crashing Packard into the graveyard, before taunting him with a headstone marked "Packard Walsh RIP."

While the other members of Packard's group are shown no mercy, the only one of them whom The Wraith is willing to spare is "Rughead," based on the principle that he alone (Rughead) had had nothing to do with Jamie's murder. This shows that The Wraith does have mercy.

The Wraith also has little care for collateral damage, as shown by his destroying police cars simply because they are in his way; the law-enforcement agents who drive them, however, are left unharmed.

Powers and Abilities [ ]

As The Wraith, Jake is able to do the following:

  • Virtual immortality: Whenever his car is crashed or blown, he and it are able to restore themselves unscathed.
  • Psychokinesis: When Skank confronts The Wraith with his shotgun, The Wraith is able to destroy the barrel with his mind.
  • Appearances and disappearances: The Wraith, in that form as well as in the form of Jake, is able to appear and disappear into thin air, surprising and shocking anyone that witnesses this.
  • Soul splitting: This is not manifested all the time, but sometimes when The Wraith disappears he can split his soul into six blue orbs. In his human form, Jake has also been shown able to do this, much to the shock of Packard Walsh.
  • Transformations: At will, Jake can transform between both forms. It is implied that he finds the process extremely painful. After his business has been finished, it is ambiguous whether Jake possesses this ability any longer; when he transforms in Keri's presence, he says, "Can't do that again."

Abilities [ ]

  • Driving expertise: As The Wraith, Jake Kesey is able to maneuver obstacles with great reflex, toy with his opponents, and drive at higher speed than the average stock racer.
  • Motorcycle-biking expertise: As Jake, he is able to put his great driving skills into play on his bike as well, narrowly dodging Skank and "Gutterboy," members of Packard's gang, when the latter two give chase.
  • Marksmanship/sharpshooting: The Wraith is able to fire with amazing accuracy, using his shotgun. Many assume that he is merely firing wildly at Pacakard's garage. But it is clearly shown, when he points the shotgun in Packard's face then shifts the barrel's direction, that he is doing this deliberately.

Devices [ ]

  • Turbo Interceptor: The Wraith's car, faster than the average car; chief among its attributes is ability to reconstruct itself completely after being wrecked.
  • Shotgun: The Wraith uses a shotgun similar in appearance to a Franchi SPAS-12. But unlike the SPAS, instead of bullets or conventional shot shells, the gun shoots laser projectiles and is capable of damage far worse than the average shotgun shell. Yet these projectiles do not set off either the ether or the acetylene used in Packard's garage, both of which gases are highly flammable and indeed explosive, when they are fired.
  • Motorcycle: As Jake Kesey, the 1978 Honda Civic Motorcycle is The Wraith's default mode of transportation. While it seems not to be as special as the Turbo, it is known to be unusually quiet and, much like the car, is able to disappear whenever Jake executes his soul splitting.
  • The car that The Wraith drives in the movie is the 1986 Dodge M4S Turbo Interceptor. Originally conceived as a pace car by Dodge and PPG industries, it was also meant to demonstrate that a car powered by a four-in-line automotive engine could, especially when using turbocharging, rival V8-powered cars, turbocharged and not, in terms of top speeds. When Mike Marvin wrote and directed The Wraith, there were only four such cars in existence, the original that Chrysler-Plymouth-Dodge loaned out to the production and three duplicates, each of which was built on a Volkswagen chassis; those meant to be destroyed in crashes were non-driving mock-ups.
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The Wraith ( 1986 ) Directed by: Mike Marvin Written by: Mike Marvin Starring: Charlie Sheen , Nick Cassavetes , Randy Quaid , Sherilyn Fenn

AVAILABLE ON Blu-ray, DVD and Digital



the wraith ending

In the town of Brooks, Arizona, Packard Walsh and his motorised gang force drivers to drag-race so they can ‘win’ their vehicles. He views Keri Johnson as his property, even though she’s not actually his girlfriend and has no intention of being so. Did Walsh have had something do to with Keri’s boyfriend James “Jamie” Hankins being mysteriously murdered, leaving no trace? Jacob “Jake” Kesey arrives in town on a bike and befriends both Keri and Jamie’s brother William “Billy” Hankins who’s something of an outcast. And a black Dodge M4S Turbo Interceptor starts to turn up, especially around Walsh and his group so its helmeted driver can wordlessly challenge them to races which could end fatally for them, while the Turbo is able to reconstruct itself and vanish in a cloud of glowing light. Sheriff Loomis is understandably baffled. Who could this seemingly vengeance-driven person be?….

the wraith ending

I think I’ve mentioned before how revisiting old loves from a long time ago is not always something that ends happily. We can all probably name films which we once loved before moving on, and then, when we watched them again with much older and even wiser eyes, their magic was gone and we may even have wondered what we saw in them in the first place. The Wraith is one film I recall thinking was so darn cool not long after it came out on video, right from just the cover. But after a few years I never went back to it. Did I develop a hunch that, actually, it was pretty rubbish and a new viewing would tarnish my memories of enjoying it so much back in the day? Maybe I did in a subconscious way, but finally I’ve given it a go over thirty years later. And, perhaps shockingly, I still thought it was  -well – not darn cool but certainly fairly cool. It undoubtedly screams the ’80s in both good and bad ways, yet tells its fatalistic story with a surprising amount of conviction; if made now it would probably be slightly poking fun at itself which is something I’m getting tired of and I’m sure I’m not the only one. The High Plains Drifter -inspired plot has been simplified, relocated to being around teens, and sometimes seems to be little more than an excuse for lots and lots of car racing and chasing, not to mention pop music blaring out every ten minutes or so, yet there’s something rather likable about the whole endeavour. They could have gone really dark, and at times there seem to be signs of this really dark movie, but as I type I’m rather happy that it turned out the way it did. It has a strange sort of innocence about it and it certainly never stops moving.

The idea supposedly came from Kim Masters, a studio executive at Disney, who told writer/director Mike Marvin the premise, and the two discussed and worked on it for several years. The Dodge M4S Turbo Interceptor was originally a pace car [one that sets the pace for the warm-up lap of a race or controls the pace in hazardous conditions. It was used in close-ups, while six copies were made; four non-drivable “dummies” that were destroyed during filming and two stunt cars made from moulds of the original car, though it took ages to find the moulds which then disappeared again for 15 years. The real car was used in close-ups. Shooting took place entirely in and around Tucson, Arizona, Big Kay’s Burgers being a converted beauty salon. Because of a tight timing window prior to filming Platoon , Charlie Sheen’s scenes were filmed in one day except for the flashbacks; the use of a Sheen double in those scenes ended up working better anyway. Bruce Ingram, a camera operator, died during the filming of one of the car chases, with an overloaded camera car overturning; another crew member was seriously injured. Marvin had to battle corner-cutting execs and producer John Kenemy virtually every day who just wanted everything to be shot fast and cheap, even cutting the shooting schedule. They didn’t even pay for a decent sound mix, though this seems to have been corrected for home viewing. Editor Scott Conrad reshaped the early part of the film, causing a few continuity issues that Marvin didn’t notice at first. Still, Cinema business was good even if reviews were generally poor. Said Sheen, “Oliver Stone went and saw it in the movie theater and called me so angrily afterwards. He was genuinely worried that The Wraith was going to soil peoples’ opinions of Platoon “. Marvin was unable to direct anything for three years due to Ingram’s death, then made a few teen movies and eventually soft porn under the name of Jake Kesey, Sheen’s character.

Clint Eastwood’s Stranger appeared in a dust storm. Here, we see four [animated] spheres of light descending from the night and, after some whizzing around pylons and destruction of signs, they collide at an isolated desert crossroads. Makes sense, seeing as a desert crossroads is often considered a place where you can meet supernatural beings, as well as make deals with The Devil. The collision forms the Turbo Interceptor, and we get a lot of loving closeups of the vehicle. Yes, this is a film that loves cars, and one may become tempted to think that it cares more about its cars than its people, though I don’t think it quite goes that far. We cut from the first shot of its mysterious [well, not really but hey] driver to another car driven by a guy with his admiring girlfriend beside him. Unfortunately he’s pursued and also blocked by Packard and his lot who force him to race by threatening that they’ll rape his girl. During the race, Walsh forces him off the road and thereby wins, then takes his car. This obviously happens very often, the group virtually ruling the area, even the town at least in terms of its young people. Along comes Jake, memorably introduced on his bike driving down a road from a huge distance towards the viewer, who immediately annoys Packard. He comes across Keri and asks her directions, but when she’s about to jump on his bike to show him, Walsh turns up. “You’re mine, I’ll do anything to keep it that way” he growls at her. She won’t become his girlfriend, so the response is, “If you’re not gonna be my girl, you’re not gonna be anybody’s girl”. Packard is a borderline psychopath who rules gang with threats and intimidation, while also being extremely jealous and possessive. And he’s rather unnerved by Jake. He thinks he reminds him of somebody, and hates it that Jake, who also gets to know the brother of Keri’s murdered ex Billy, and Keri are getting friendly.

the wraith ending

All this is handled with economy, yet scenes are still allowed to breath. We especially get a sense of poor Keri’s predicament. There’s no mystery though; we know who Jake is really early, right from when we see him being killed in a flashback and soon after see that he has knife scars on his neck and back. In any case, the action soon begins to take over as the Turbo Interceptor appears, seemingly from nowhere, plus its driver who wears a black race helmet and is covered head-to-toe in black body armur which is adorned with metal braces resembling those worn by victims recovering from severe physical injuries. Driver and car especially like to show up where Packard and his buddies are hanging around so they will race with him. First up is Oggie [whom Marvin wanted Johnny Depp to play]. He dies in a high-speed, fiery crash which oddly leaves his body untouched except for burnt out eye sockets while the car puts itself back together again and disappears before the eyes of Sheriff Loomis and his men, Randy Quaid being given the role of the archetypal person whose presence actually matters not to the story but who we can put ourselves in the place of if we’re sceptics about the supernatural. We’re told that the dramatic turning point will be when Keri stands up to Packard and totally defies him, because Jake tells her that she needs to do this. This suggests a somewhat deeper, more psychological piece where Jake could possibly be a figment of Keri’s imagination who helps her, but nah, this is The Wraith after all. There’s none of the ambiguity and moral complexity of High Plains Drifter where The Stranger isn’t always likable and nearly the whole town is guilty because they watched a killing and let it happen. It’s just simple good vs. evil as Jake enacts his revenge, sparing the life of the one ‘good’ gang member. I’d have probably had Jake kill him too, but then I don’t write movie scripts and they were going for a quite feelgood vibe here despite the horror touches.

We don’t see much in the way of human death, but do witness lots of vehicles burning and exploding. Rather than this showing a supposed lack of interest or compassion for the living beings in this film, I see this more as a way to keep the rating a ‘PG-13′ in the United States. Here in the UK it got an ’18’ which seems rather harsh, though things are still on the edge of what one would assume was typical teenage viewing, especially with two of the gang members knocking back WD40 which they’re totally addicted to, some shots of breasts [missing from some versions] and that thrice repeated red-heavy flashback which gets more detailed with each itineration; its brutality really comes across even though we see very little of the slashing and the beating. Marvin and Conrad, or Marvin and the other editor Gary Rocklen [I don’t know who worked on what] use quick cuts without things becoming incomprehensible [that’s not often the case today], as they also do on the frequent car footage where a variety of angles aids the excitement and stops things from becoming too repetitious. Some details are odd, as if Marvin left out some explanatory material. A notable example is when, each time The Wraith kills one of the gang members, a mysterious arm or leg brace is shown vanishing. Marvin explained in interviews that this was intended to mean that The Wraith was getting stronger with each act of revenge, but you don’t get this from watching the film. One thing that I think this film would do if made today is go more detail into the supernatural side of things, though if you think about it the similar The Crow wasn’t much less vague, yet we didn’t feel cheated by this.

One can’t help but wonder why they thought that snow, in a film set in summer but filmed in winter, wouldn’t be noticed in a few backgrounds. And would the gang member who says the word “wraith” actually know said word. Yet these guys are all effectively if simply sketched so they provide a bit of comic relief yet we’re also intimidated by them, while Nick Cassavetes [son of John] makes for a scarily convincing alpha male who inside is very weak indeed. As for Sheen, he’s very likable, even if he does first appear wearing just a blue demin jacket with all the buttons undone. Was that look ever cool? One character I wanted to spend more time with was Billy [Matthew Parry]; one gets the idea that his part was edited down, which means that an emotional payoff doesn’t really hit the mark like it should. And then there’s the songs. They seem too frequent and aren’t a particularly good backdrop for the action scenes especially when we also have some driving [sorry] scoring from Michael Hoenig and J. Peter Robinson which acts as a much better accompaniment. I feel that quite a few first time modern viewers will wish the film had gone more into the horror potential of the tale, especially when we get suggestions that it will do this, like Jake suddenly emerging from behind Jamie’s tombstone. This means that I wouldn’t be opposed to a remake which did such a thing. Yet it’s also possible to like the direction they went in here. Jake, much like Eric Draven, comes back as much for love as revenge. This means that not just does the rather idealised romance between Jake and Keri work very well in context, but also that the happy ending, despite it raising a lot of questions, failed to irritate the Doc at all, a person who generally loves his downbeat endings, especially when they seem such natural conclusions.


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Film / The Wraith

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Charlie Sheen stars in a film about death races.

The Wraith was made in 1986 starring, alongside Sheen, Nick Cassavetes , Sherilyn Fenn , Randy Quaid and Clint Howard .

Sheen plays Jake Kesey, a mysterious motorcycle-riding drifter who catches the eye of local girl Keri Johnson (played by Fenn), in an Arizona town. In doing so he runs afoul of a group of Road Pirates led by Packard Walsh (played by Cassavetes), who make their living by challenging locals to drag races, using their cars as collateral and chop-shopping their winnings. Packard himself is a psychopathic Crazy Jealous Guy that everyone fears and claims Keri as his property. An unidentified car and its armor-clad driver challenge the gang, one by one, to a race ending in their death. Sheriff Loomis (played by Quaid) investigates these deaths not only in hope of catching the killer, but also as a means of catching Packard in the act. It all begins to unravel as the connection among Keri, Jake, Packard and the mysterious driver becomes clearer as Packard is the last on the chopping block.

Tropes Associated with The Wraith

  • All There in the Manual : According to Mike Marvin, the reason why the Wraith's braces disappear after every kill is that he is getting stronger.
  • Animated Credits Opening : The entire scene in the beginning of the film, building up towards The Wraith's first appearance, is animated.
  • Agent Scully : Even though he has seen first hand what The Wraith can do, Loomis does not believe that he's Jamie Hankins' spirit. Although his lines over Packard's body and his staking out Keri's house in the final scene imply he's starting to. Loomis: Bad feelings don't lead to resurrections .
  • The Alleged Car : Billy's Triumph Spitfire 1500, it barely starts and when it does, Packard and the gang are already surrounding him before he could move a few inches. Jake gives him the Turbo Interceptor, much to his glee.
  • Ask a Stupid Question... : Regarding Oggie's death. Deputy Murphy even gets called out on it. Murphy: You think he made it? Stokes: You gotta be kidding me. Local kid? Murphy: Used to be.
  • Asshole Victim : Packard and his gang. Sheriff Loomis investigates the Wraith's killing spree because it's his job to do so, not because Packard's gang deserve justice, and once he figures out the Wraith is only chasing the gang, that it's revenge for Jamie's death, and all of the involved members of the gang have been killed, Loomis decides it's okay to let it go. he even makes clear to Packard that he will gladly have them put in death row if they think them being targeted gives them reason to kill the Wraith.
  • Beneath Notice : Packard is The Dreaded for just about everyone below the age of twenty-five in town; however, him being the leader of a small gang of road pirates in backwater Arizona blinds everyone (including Loomis, who simply thinks he's a small-time punk) to the fact that's he's a dangerous, murderous psychopath.
  • Big Damn Heroes : The Wraith shows up just as Packard is about to kill Keri .
  • Big "NO!" : Rughead gets one when The Wraith lifts the visor on his helmet prior to shooting up the garage. The face is somewhat hidden, but Rughead is the only one to recognize the man as Jamie Hankins, who is supposed to be dead. His reaction also counts as Go Mad from the Revelation , as Skank and Gutterboy's deaths finally break him and make him confess his knowledge of the murder to Loomis.
  • Body Horror : The Wraith's victims, despite their car exploding and burning, come out completely intact and unmarred. The exception being that their eyes are no longer in their blackened sockets.
  • Brick Joke : There are two. The first is whenever Loomis confronts Packard and his gang, they invoke some legal knowledge, specifically warrants. Later on Loomis does have a warrant to question Packard regarding Minty's death. The second one is when The Wraith confronts Packard and the gang at their garage, Packard warns him that his shotgun might set off the Ether and Acetylene. The Wraith later crashes his car into the garage killing Skank and Gutterboy and destroying the garage in a big Ether and Acetylene fueled fireball.
  • Broken Bird : Keri became this when Jamie died , which was one of the reasons she stayed with Packard despite her dislike and fear of him. Jake makes it his life mission to break her out of that funk.
  • But Now I Must Go : Played with, after Jake reveals himself to Keri, he goes to say goodbye to Billy and then leaves him the Turbo Interceptor as a replacement for his Triumph . Instead of just outright leaving everyone behind, he takes Keri with him out of town.
  • Came Back Wrong : When Jake finally reveals himself to Keri, that he's the ghost of Jamie Hankins. He lampshades this trope. As both characters were played by two different actors. Jake: This is as close as I could come, to who I once was.
  • Casting Gag : In the Japanese dub, the titular Wraith/ Jamie is voiced by Shūichi Ikeda , who already had some experience playing guys driving vehicles (or robots) faster than usual, except replace red with black and had a grudge against the people who wrong him in the past .
  • Cool Car : The movie has a list of cool cars, but the most prominent are The Wraith's Dodge M4S Turbo Interceptor and Packard Walsh's 1976 Corvette.
  • Covers Always Lie : As seen in the above poster, not one of those people looks remotely like the main cast, even though the three men wear outfits that match Charlie Sheen, Nick Cassavettes, and Griffin O'Neal's costumes. Not to mention Griffin O'Neal (apparently) being on the poster, when he's the first character killed, and only in two scenes.
  • Crazy Jealous Guy : Packard Walsh is the poster child for this. He is violent against anyone who even looks at Keri. He even killed her boyfriend, Jamie as the result of said jealousy.
  • Curb-Stomp Battle : Each race, especially ones involving The Wraith, are these.
  • Dark Is Not Evil : The Wraith is clad in dark armor and drives an all black car, but he only goes after Packard's gang.
  • The Dreaded : The entire town fears Packard Walsh, with the exception of Billy, The Wraith Jake and Loomis.
  • Drives Like Crazy : Skank, in his pursuit of Jake and Keri. Apparently he and Gutterboy have a history of this: Gutterboy: It's too bad about the 'Cuda, Skank. It's our, what is it, tenth car ?
  • Dumbass Has a Point : Skank has a few moments of these. The most prominent one is when Packard tries to shoot the Wraith's car, but Skank stops him. Packard: (holds a shotgun on him) Skank, why is it you continue to question my authority? Skank: (bats the gun aside) Cool it, man! You got a big audience with Rughead over there, man. It'll be first-degree murder. Packard: (mollified and backs off) You're right.
  • Every Car Is a Pinto : Every time The Wraith runs someone off the road, they blow up. Despite being engulfed in flames, see Body Horror above.
  • Even Evil Has Standards : Packard's hobbies include, stealing, abuse, murder and cutting himself, but he cannot stand it when Skank is getting high off car fluids. Packard: And Skank, do me a favor? Get rid of that zombie piss you're drinking, before it turns you into a mushroom.
  • Fan Disservice : Jake being undressed down to briefs and Keri being only in panties during the murder flashback sequences (Packard and his gang broke into their room while they were making love).
  • Fourth-Date Marriage : Teenagers in The '80s or not, Jake and Keri's relationship moves very fast for two people who've known each other for a week at the most. Justified by a) Keri being desperate for any kind of escape from Packard's psychological imprisonment of her, and b) Jake is the resurrected form of her true love, Jamie; when Keri talks about her strange dreams, it's implied that she is subconsciously aware of this as well, and has been from the first moment she saw Jake.
  • Gadgeteer Genius : Rughead is able to build new fuel injection plants for Packard's car and a digital radio killer to disable cars that attempt to run. The Wraith destroys the new engine before it can be used. The digital radio killer is placed in the Interceptor's engine before the race with Minty, but has no effect whatsoever.
  • Good Scars, Evil Scars : Jake is an all-around nice guy, who just so happens to have gruesome knife scars on his back and neck. They were from his previous death as Jamie Hankins.
  • Good Is Not Soft : Although he's only after Packard's gang, it doesn't stop The Wraith from doing some collateral damage to Loomis' cars, since they are only in his way.
  • Heel–Face Turn : Rughead was already packing up and leaving after Minty's death, not wanting to deal with the gang anymore. But after The Wraith obliterated Skank and Gutterboy, destroying Packard's garage in the process, he confesses his knowledge of the gang's murder of Jamie Hankins to Loomis. He's the only one in the gang that was spared by The Wraith, because despite his knowledge, it was after the fact; he didn't participate in the murder. He didn't even know he was helping dispose of Jamie's body, though he figured it out afterwards.
  • He's Not My Boyfriend: Despite Packard saying otherwise, Keri insists that Packard isn't her boyfriend. The only reason she hangs out with him, is because she's very scared of him. She flats out says it to him after Oggie's death. Keri: I don't love you. I've never made love to you and never will.
  • Honking Arriving Car : At the sun-and-swim gathering by the river, Skank and Gutterboy sound the horn at their arrival to call over Packard but not before Skank takes a swig of breaker fluid first.
  • If I Can't Have You… : Packard says it almost word for word to Keri. It's why he killed Jamie Hankins in the first place; Keri never looked at another boy while she had Jamie. Keri: You think you own me, that somehow I'm your private property. Packard: You are, nobody loves you as much as I do, nobody. Keri: That's because everybody's scared of you. Packard: If you're not gonna be my girl, you're not gonna be anybody's.
  • Inspector Javert : Sheriff Loomis was this for Packard, and later The Wraith.
  • Large and in Charge : Packard, played by 6'6'' Nick Cassavetes
  • Magitek : The Wraith car's engine is a strange blend of supernatural and quasi-futuristic technology that is never explained. It almost looks alien.
  • Master of Illusion : Implied with The Wraith. Both Oggie and Minty should have seen the Interceptor blocking the road, but the final shots of their faces show they don't see the car until a few moments before impact. We also see Packard's POV directly during his final moments; he speeds up to hit The Wraith, who he sees standing in the road, and doesn't perceive that the Interceptor is actually racing towards him, intending to take him out in a head-on collision.
  • Nice Girl : Keri is this when not dealing with Packard Walsh. She's good friends with Billy Hankins and despite her fear of Packard, goes on various dates with Jake.
  • No Good Deed Goes Unpunished : All Billy was doing was offering a tired Keri a ride back home, yet Packard sees it as Billy making a move on Keri. Their standoff halts briefly as The Wraith shows up, prompting them to go race The Wraith instead.
  • No Kill like Overkill : On top of beating him and stabbing him to death, Packard finishes poor Jamie off by putting his body in the trunk of a car, pushing the car over a cliff, then blowing it up with a shotgun.
  • Oh, Crap! : When Rughead connects the digital radio killer to The Wraith's car, he gets a glimpse of what the Turbo Interceptor's engine looks like. His look is a combination of super-impressed and scared. Packard doesn't even care enough to look for himself, more obsessed with the ongoing race.
  • Only Known by Their Nickname : played with. Nearly everyone calls him Skank, even his uncle, but he doesn't seem to mind Loomis or Packard (although, one's the sheriff and the other's a psychotic) calling him Maurice.
  • Our Ghosts Are Different : In this case, they come back with a technologically advanced car and race people to their deaths.
  • Painful Transformation : The Wraith's transformation into Jake shows that although nothing outwardly physical happens to him , the expression on Jake's face shows that it hurts when he does it. The Wraith /Jake: I can't do that again.
  • Zigzagged. Loomis would very much like to bust Packard and his gang, but he never seems to be able to get enough evidence. You'd think if he talked to the couple from the beginning of the movie, or maybe actually did a little, you know, detective work...
  • Justified in their pursuit against The Wraith. Despite all their efforts they honestly had no clue what they were dealing with.
  • Prematurely Marked Grave : The graveyard scene where Packard sees a tombstone with his name on it courtesy of the titular Wraith.
  • Reasonable Authority Figure : Sheriff Loomis, he's still willing to try to find The Wraith even though he doesn't see a big deal about him offing Packard's gang only. He gives up the search after Packard dies. Loomis: There's a kid out there using his car to kill people. Not that it's such a big deal since it seems to be your gang he's got it in for... so, if you guys try to take the law into your own hands, and that killer turns up dead, I'm gonna see you all sniffin' cyanide in the Arizona gas chamber.
  • Resurrected Romance : Jamie came back from the dead as a spectral entity to exact revenge on his killers. He also rekindles his prior romance with his girlfriend, and they drive off into the sunset (okay, the moonlight...) at the end.
  • Resurrection Revenge : A gang of street racers find themselves facing off with a mysterious new driver. The mysterious driver ends up killing each member of the gang one by one. At the end, it's revealed he's the ghost of a man murdered by the gang. Notably, the only member of the gang he spares was innocent of the murder.
  • Romantic Ride Sharing : There are several scenes in the film where Keri rides on the back of Jake's motorbike that are intended to suggest Keri being close to the ghost of her dead boyfriend . There's also a moment early in the film where Jake offers Keri a ride on his bike, but her overly possessive, evil "boyfriend" Packard gets in the way. At the end of the movie, after Packard is killed and Jake reveals his true identity to Keri, the two take off together into the Arizona desert.
  • Rule of Three : There are only 3 Races between The Wraith and Packard's gang. First is Oggie, second is Minty, third is Packard.

the wraith ending

  • Skank's habit of drinking various car fluids.
  • Screw This, I'm Outta Here : Rughead decides to bail when he can't take the killings anymore. He's the only one that survives, because he wasn't involved in Jamie's murder.
  • Skank has one after The Wraith shoots up their garage with his gun.
  • Skank's real name being Maurice may be a reference to The Steve Miller Band 's song "The Joker".
  • Shotguns Are Just Better : The Wraith has a modified Spas-12 that shoots lasers, which he uses to trash the gang's cars. Packard himself has a double-barreled one he planned on using in retaliation. Skank tries to use it on The Wraith, but it backfires.
  • Smug Snake : Packard is determined to race The Wraith and win his car despite seeing what The Wraith can do.
  • Stealth Hi/Bye : both The Wraith and Jake do this, although Jake only uses the ability to dissolve into several glowing points of light and re-form elsewhere once before the end.
  • Supporting Protagonist : The title character, The Wraith, is The Hero of this movie, but the film follows Packard Walsh, the crumbing of his dark kingdom as The Dreaded of the highway and the revelation of him being Jamie Hankins' murderer that causes the birth of The Wraith himself .
  • The Only One Allowed to Defeat You : Packard intentionally causes an accident, to keep the cops from interfering with his race against The Wraith.
  • The Stoner : Skank gets high off car-related chemicals, such as washer fluid, brake fluid and WD-40.
  • Those Two Guys : Skank and Gutterboy. Their humor almost makes you forget that they are a pair of cold-blooded killers that helped murder Jamie Hankins. They're such a tight pair that only one brace disappears when the warehouse explodes, implying that the two of them only count as a single kill.
  • Title Drop : Rughead is the only person to refer the Wraith by its name. Rughead: This gang thing was cool when we had the edge, but now that there's that Wraith out there, that killed Oggie. Skank: A what out there man? Rughead: A Wraith, man, a ghost, an evil spirit and it ain't cool.
  • Token Good Teammate : Rughead. In a gang of bullies and thugs, he's just a geek in over his head. He's also the only one not involved in Jamie Hankins' murder, and consequently the only member of the gang spared from the Wraith's vengeance.
  • Unfinished Business : Jamie/Jake was murdered by a local gang of criminals because their leader wanted his girlfriend for himself. He comes back from the dead in a different body, and travels around in a cool car wearing a black suit with a motorcycle helmet. Jake kills his murderers one by one, gives his car to his younger brother, and moves away with his girlfriend instead of passing on afterwards.
  • The Voiceless : The Wraith never talks, with the exception of leaving a note on Packard's dashboard and making a headstone with Packard's name carved on it appear as a silent threat.
  • Vader Breath : The only sounds you'll ever hear the Wraith make.
  • Verbal Tic : Whenever Packard is intimidating someone, or doesn't know a person's name, he always refers to them as "Guy."
  • Villain Protagonist : Packard Walsh, he's the Big Bad of this story, but the film mostly follows him and his gang and Packard's gradual downfall of his tyrannical reign over the highway caused by the titular Wraith, The Hero of the story, while at the same time revealing in the interim Packard's part in Create Your Own Hero by killing Jamie Hankins, who would revive as the Wraith haunting them in return for justice .
  • What Measure Is a Mook? : When Oggie is the first to get killed by The Wraith, the rest of the gang actually feels bad, even Keri, who hates Packard and her life with him, sheds a few tears for him because he was her neighbor. The only one who doesn't care is Packard, but he does show some concern when Keri is crying. Packard: What's the matter? Keri: I just can't believe Oggie's dead, he lives just up the street from me. Packard: Oggie is no loss believe me.
  • Who Are You? : Surprisingly, Jake gets this question more than The Wraith. Not so surprisingly when it turns out they are one and the same.
  • Worthy Opponent : Packard sees the Wraith as this and even takes the time to warn him that Loomis is after him as well as the gang after The Wraith enters their garaged armed with his shotgun. Packard: Look, guy, Loomis is out looking to bust everyone. Now, losing Oggie ain't no big deal and that's a hell of a car you got.
  • Yandere : The driving plot point to the movie and to why Packard killed Jamie.
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Russia-Ukraine war: Putin calls Ukrainian strikes on Belgorod ‘terrorist act’ that ‘will not go unpunished’ – as it happened

Russian president says Moscow will continue to strike ‘sensitive’ military targets in Ukraine and says war is turning in Russia’s favour. This live blog is closed

  • 1 Jan 2024 Afternoon summary
  • 1 Jan 2024 Vladimir Putin calls Ukrainian strikes on Belgorod 'terrorist act' that 'will not go unpunished'
  • 1 Jan 2024 Russia launches 'record number' of attack drones, Ukraine claims
  • 1 Jan 2024 Volodymyr Zelenskiy vows to unleash 'wrath' on Russian forces in 2024

The aftermath of an overnight attack in Donetsk, in Russian-controlled Ukraine.

Vladimir Putin calls Ukrainian strikes on Belgorod 'terrorist act' that 'will not go unpunished'

Vladimir Putin said on Monday that a series of Ukrainian missile strikes on the Russian border city of Belgorod that killed 20 people and wounded 111 was “a terrorist act” that would not go unpunished and promised more strikes on Ukrainian targets, Reuters reports.

Speaking at a meeting with servicemen at a military hospital in Moscow, Putin said that the strikes, which came amid intensified Russian air assaults against Ukrainian cities Kyiv and Kharkiv, “will not go unpunished”.

Putin said that Russia would continue to strike “sensitive” military targets in Ukraine . Russia denies Western and Ukrainian accusations that it targets civilian infrastructure.

In a wide-ranging conversation with the servicemen, Putin said that the course of the war in Ukraine was changing in Russia’s favour, and that Moscow hoped to end the war, but only on its own terms.

Putin’s traditional new year address delivered on Sunday made only a passing reference to the war in Ukraine, a sharp contrast to last year’s speech.

Afternoon summary

Volodymyr Zelenskiy vows to unleash ‘wrath’ on Russian forces in 2024. But the Ukrainian president’s new year’s address made almost no direct reference to the situation on the frontline or the limited success of a counteroffensive launched in June.

Ukraine and Russia have accused each other of New Year’s Day attacks. Five people have been killed in attacks on Ukraine’s southern Odesa region and the occupied eastern city of Donetsk.

Ukraine claims Russia has launched a ‘record number’ of attack drones. Ukraine’s Air Force said 87 out of 90 drones had successfully been shot down in the hours leading into New Year’s Day.

Vladimir Putin calls Ukrainian strikes on Belgorod ‘terrorist act’ that will ‘not go unpunished’. Russia’s president said it would continue to strike “sensitive” military targets in Ukraine.

The death toll following Ukrainian strikes on Belgorod has risen to 25 , according to region’s governor. Vyacheslav Gladkov said on Monday a four-year-old girl died from injuries sustained in the attack.

The death toll as a result of the attack on the Russian border city of Belgorod on 30 December has increased to 25, according to the region’s governor.

Vyacheslav Gladkov said a child had died in hospital from injuries sustained in the attack.

“Today in the local children’s hospital a four-year-old girl, who was in a serious condition with severe injuries to the chest and internal organs, died,” Gladkov said.

Her death brought the number of child victims of the attack to five.

“This is an irreparable loss for all of us,” Gladkov said.

He said a total of 109 people were wounded, 45 of which are still in medical facilities.

More details on the attacks in the early hours of New Year’s Day – reported by both Ukraine and Russia – here…

A 15-year-old boy was killed and seven people wounded after falling debris from one of 87 downed drones hit a residential building in the city of Odesa, the head of the region’s military administration, Oleh Kiper, said.

In the western city of Lviv, Russian attacks severely damaged a museum dedicated to Roman Shukhevych, a controversial Ukrainian nationalist and military commander who fought for Ukrainian independence during World War II. University buildings in the town of Dubliany were also damaged, although no casualties were reported.

A man takes a photo as he stands on the debris of the destroyed Shukhevych Museum after a drone attack in Bilogorshchethe, on the outskirt of Lviv on 1 January

Writing on social media, Lviv mayor Andriy Sadovyi described the strike as “symbolic and cynical,” adding, “this is a war for our history.”

Meanwhile, four people were killed and 13 more wounded following Ukrainian shelling on Russian-occupied areas of Donetsk, according to the area’s Russian-installed leader, Denis Pushilin. Russian state media reported that a journalist was among the victims, but provided no further details.

One person was also killed and another wounded in shelling on the Russian border town of Shebekino, regional governor Vyacheslav Gladkov said.

Five more bodies have been found under rubble after massive Russian air strikes on Kyiv three days ago, city authorities said on Monday, bringing the death toll in the Ukrainian capital from the attack to 28.

Ukraine had previously declared Monday a day of mourning for those killed in Friday’s missile strikes, the deadliest single attack on Ukraine’s capital of the nearly two-year-long war.

“Sincere condolences to all those who lost relatives and loved ones ... terrorists who kill civilians will never be forgiven for the blood spilled on Ukrainian soil,” Kyiv’s military governor Serhiy Popko wrote on Telegram.

Russia launches 'record number' of attack drones, Ukraine claims

Russia launched a “record number” of attack drones in the hours leading into New Year’s Day, Ukraine’s Air Force said this morning.

In an update on messaging platform Telegram, it said 87 out of 90 drones had been successfully shot down.

“On New Year’s Eve 2024, the enemy used a record number of ‘Shahed’ type attack UAVs,” it said.

“The attack was carried out in waves from four directions.”

Spectators watching a concert in the lobby of the Odesa Regional Philharmonic due to an air raid signal on New Year’s Eve

Ukraine and Russia have accused each other of New Year’s Day attacks.

Five people have been killed in attacks on Ukraine’s southern Odesa region and the occupied eastern city of Donetsk , local authorities have said as the conflict between Moscow and Kyiv escalates.

“As of 02:00 (2300 GMT), there were preliminary 13 wounded and four dead,” Denis Pushilin, the Russian-installed head of Donetsk, said on Telegram.

He described the attack as “massive shelling from multiple launch rocket systems”.

In Odesa, the governor Oleg Kiper said one person died in a Russian drone attack, and three others were wounded.

Several buildings were hit and damaged by “downed drones”, he said on Telegram. “Fires broke out in residential buildings in different areas of the city.”

Ukraine’s military has said that an overnight Russian drone attack on Odesa targeted port infrastructure, and that a fire had broken out in one of the port terminals as a result of a strike.

“The enemy’s clear priority remains the port infrastructure of Odesa. A large number of drones were directed from the sea to the coastal zone,” Ukraine’s southern military command said on Telegram.

It said the fire was promptly extinguished and that there were no casualties.

Volodymyr Zelenskiy vows to unleash 'wrath' on Russian forces in 2024

Good morning. The Ukrainian president, Volodymyr Zelenskiy , has vowed to unleash “wrath” against Russian forces in 2024, saying Ukraine has become stronger as the war moves toward its third year.

But Zelenskiy’s slick 20-minute new year ’s address, delivered from his Kyiv office, made almost no direct reference to the situation on the 600 mile (1,000km) frontline or the limited success of a counteroffensive launched in June.

President Zelenskiy sits at a desk

Nor did he refer to the political and diplomatic difficulties in securing continued military and other aid from both the US Congress and the European Union.

Zelenskiy said the war had taught Ukrainians to withstand Russian attacks and adapt to hardships, including blackouts, the operation of industry and threats to shipping its exports.

You can read the full report here:

  • Ukraine war live
  • Volodymyr Zelenskiy

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The Western Journal

The Western Journal

Speaker Johnson Reportedly Facing Same Fate as McCarthy: 'He’s in Way, Way Over His Head'

Posted: January 9, 2024 | Last updated: January 9, 2024

House Speaker Mike Johnson, who is facing the wrath of conservative House Republicans, could end up facing the same fate as former Speaker Kevin McCarthy, according to multiple reports.

Newsweek summed up its report on the possibility that the Louisiana Republican might be removed from office by dissident Republicans in the same method as McCarthy , who has since left Congress, by saying Johnson’s “speakership is unraveling.”

Under House rules, all it takes is one member to call for a vote on keeping Johnson in power before the process that led to McCarthy being ousted begins again.

A Punchbowl News report quoted what it said was a House Republican it did not name as venting frustration that House Republicans seem to be growing weaker under Johnson.

🚨NEWS in @PunchbowlNews AM @SpeakerJohnson is facing withering criticism from inside the House Republican Conference, and some are already whispering about dumping him.

Here's a quote from a VERY well connected House R.

“Significant concerns growing about Mike’s ability to…

— Jake Sherman (@JakeSherman) January 9, 2024

“Significant concerns growing about Mike’s ability to jump to this level and deliver conservative wins. Growing feeling that he’s in way, way over his head. As much as there was valid criticism and frustration with Kevin, Mike is struggling to grow into the job and is just getting rolled even more than McCarthy did,” Punchbowl quoted its source, who it said was not a Freedom Caucus member, as saying.

The report indicated that Republicans are irked that instead of pushing back against the Fiscal Responsibility Act agreed to by McCarthy, which sets budget parameters and has been denounced by fiscal conservatives, Johnson played along with it.

The truth is what Johnson did -- recognize that the FRA was the law of the land -- is not controversial. But the House has turned into a reality free zone, in many respects.

ALSO: HOUSE GOP LEADERSHIP is now considering a short-term stopgap to avert a shutdown. JOHNSON said he…

Why Johnson should pass a CR: A shutdown does him ZERO good. Those itching for one will think it's not long enough. Those who are against shutdowns will think it's stupid.

The current rift concerns the federal budget . In theory, the budget is supposed to be in place by Oct. 1, but final adoption was delayed, leading to a series of continuing resolutions to keep the government operating. A budget unveiled over the weekend was roundly denounced by several House Republicans -- and Johnson along with it.

It’s even worse than we thought.

Don’t believe the spin. Once you break through typical Washington math, the true total programmatic spending level is $1.658 trillion — not $1.59 trillion.

This is total failure. https://t.co/QBok5lpa6E

— House Freedom Caucus (@freedomcaucus) January 7, 2024

New: CHIP ROY told me members are having “sober conversations” about the state of the House GOP

When asked if their talking about MTV, he wouldn’t say

“We’re just having the conversations we need to have about this continued failure theater.” https://t.co/x7hHxBHRHf

— Reese Gorman (@reesejgorman) January 8, 2024

I am a NO to the Johnson Schumer budget deal.

This $1.6 Trillion dollar budget agreement does nothing to secure the border, stop the invasion, or stop the weaponized government targeting Biden’s political enemies and innocent Americans.

So much for the power of the purse!

— Rep. Marjorie Taylor Greene🇺🇸 (@RepMTG) January 8, 2024

Punchbowl’s report said Johnson could be open to scrapping the deal to go with more continuing resolutions as a way to deal with the pressure from conservative House Republicans for a win. That would allow for further talks on the details of the budget agreement.

One GOP legislator noted that House Republicans cannot translate a very fragile power base with a razor-thin majority into major legislative victories.

Are we learning that negotiating with the Democrats in the White House and Senate with a slim majority is hard and you can’t get everything you want, no matter who is in the Speaker’s office? https://t.co/aspRsWUh4B

— Rep. Mike Collins (@RepMikeCollins) January 8, 2024

The budget dilemma comes as some House members have criticized the National Defense Authorization Act that passed late last year, Newsweek noted. The bill included some features that conservatives opposed, such as an extension of the Foreign Intelligence Surveillance Act.

Republican Rep. Marjorie Taylor Greene of Georgia said Johnson "shoved the FISA spy court into our defense bill."

Anna Rose Layden / Getty Images

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'Marvel's Spider-Man 2' Explained: Who Is Wraith?

Read on for everything you need to know about yuri watanabe aka wraith before playing 'marvel's spider-man 2'.

'Marvel's Spider-Man 2' Explained: Who Is Wraith?

Among the most complicated allies in Peter Parker ’s life is his contact in the Police Department   of Marvel’s New York , Captain Yuri Watanabe . A constant presence in the Marvel’s Spider-Man story, Yuri‘s stance on how to address crime in Marvel’s New York begins to take a darker turn in Marvel’s Spider-Man: The City that Never Sleeps —a stance that shakes her and Spider-Man ’s dynamic to its core. Frustrated by the bureaucracy of operating within the police, Yuri creates a costumed persona for herself, taking on crooks as the lethal vigilante Wraith , putting her at odds with her web-slinging associates.

Here is everything you need to know about Yuri Watanabe, from her close partnership with Spider-Man in the 2018 game and its expansion, her heartbreaking turn in Marvel’s Spider-Man 2 , and how it compares to her extensive history in the comics.

Yuri Watanabe’s Impact Before Marvel’s Spider-Man 2

At the start of Marvel’s Spider-Man , Peter Parker already has a close working relationship with Yuri, helping her apprehend the Kingpin in the game’s opening sequence. This effective crime-fighting partnership continues throughout the game, from Spider-Man repairing the transponders at police stations across Manhattan, to Yuri introducing Peter to Miles Morales ’ father Jeff Davis . Yuri and Spider-Man share information in the wake of Doctor Octopus unleashing the pathogen Devil’s Breath on Marvel’s New York, which leads to Peter helping to develop a cure in time to save Yuri after she is infected.

In Marvel’s Spider-Man: The City That Never Sleeps , Spider-Man joins Yuri on a massive police chase against the Maggia crime syndicate, only to discover that it has been taken over by the vicious Hammerhead . In a separate raid, Yuri’s team is ambushed and killed by Hammerhead, leaving a vengeful Yuri to shoot a restrained Hammerhead and be placed on administrative leave for the incident. After killing a Maggia enforcer who was responsible for a string of murders across town, Yuri resurfaces in a message to Spider-Man, confessing to her actions before deciding to continue acting as a vigilante.

Yuri Watanabe’s Role in Marvel’s Spider-Man 2

Marvel's Spider-Man 2 Wraith (Yuri Watanabe)

While Peter investigates civilians trapped in a hospital after the Sandman attack, he crosses paths with Yuri, who is now fighting crime as the costumed figure Wraith and currently on her own vendetta against The Followers of the Flame . The cult’s leader, who we later learn is Cletus Kasady , lures Spider-Man and Wraith to one of the cult’s bases where, despite Spider-Man’s concerns, Wraith rushes in and nearly kills Cletus. Spider-Man defends him, which causes a frustrated Wraith to fight Spider-Man, allowing Cletus to escape.

Wraith and Spider-Man attempt to foil the “ Crimson Hour ,” a day of reckoning for The Followers of the Flame. They discover the group’s plan to smash an oncoming train into explosives to wreak havoc on the city. During the chaos, Spider-Man is pinned under the train and Cletus reveals his true plan—to steal a piece of the Symbiote from Oscorp . Yuri saves Spider-Man from Cletus, allowing him to escape in the process. Though disappointed to have let the madman go, Yuri understands that having Spider-Man around is ultimately good for Marvel’s New York. The two finally agree to work together to track down and stop Cletus for good whenever he returns.

Yuri Watanabe’s History in the Comics

AMAZING SPIDER-MAN (1999) #663 Wraith (Yuri Watanabe)

Yuri Watanabe was introduced in AMAZING SPIDER-MAN (1999) #600 , created by Dan Slott and John Romita, Jr. , as a captain within  New York City’s Police Department who followed in her grandfather and father’s footsteps to become a cop. A supporter of Spider-Man, Yuri and the webslinger worked together to stop an explosive gang war between the Maggia and Mister Negative . Following this, Yuri and Spider-Man shared information as they combatted different criminals and costumed villains surfacing around New York.

After confiscating some of Mysterio and Chameleon ’s old gear, Yuri decided to become a costumed hero herself, debuting as Wraith in AMAZING SPIDER-MAN (1999) #663 . Initially appearing as the ghost of her late colleague Jean DeWolff , Wraith took a harder-hitting, more vengeful approach to crime-fighting than Spider-Man. Yuri began working with fellow police officer Carlie Cooper to combat crime as Wraith, discovering Otto Octavius had temporarily seized control of Peter Parker’s body, and going up against a resurgent Green Goblin for the fate of the city.

In the wake of her mentor Teddy Rangel ’s death in the midst of helping to take down Tombstone , followed by the villain’s release due to rampant corruption in the justice system, Yuri became frustrated. This led to her coming to blows with Spider-Man over the lengths Wraith went to to bring the corrupt Judge Howell down, with Mister Negative becoming involved. Though Spider-Man managed to save Wraith from Mister Negative’s trap for her, the two former friends and allies had a major falling out over Wraith’s willingness to employ lethal force.

'Marvel's Spider-Man 2' Explained: Who Is Wraith?

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Night swim ending explained.

Night Swim's ending takes a sinister turn as the Waller family fights back. We break down the horror movie's ending, and the lore at its center.

Warning: This post contains major spoilers for Night Swim

  • Night Swim's ending leaves the door open for a sequel, as the Waller family remains in the house, still at risk of the spring water's possession.
  • The spring water in Night Swim grants wishes but requires sacrifices in return, trapping and luring its victims to fulfill desires.
  • The film emphasizes the importance of family and the consequences of living in the past, showing that getting what you want doesn't always lead to positive outcomes.

Night Swim ’s ending leaves the door open, but it also ends on a sad note. After Eve Waller drives to visit Rebecca’s mother, Kay, she learns that Rebecca’s death was no accident. The Waller’s pool was built above a spring that granted one’s heart’s desires, but it came with a sacrifice. Kay wished that her son, Thomas, would heal, so he could go on to do great things. Once possessed, Kay sacrificed Rebecca to the spring water. Horrified, Eve returned home only to find that Elliot had already been taken beneath the pool.

Eve jumps in to save him while Izzy rushes inside to stop Ray, who is now possessed by the spring water. By this point, Ray will do anything to ensure Elliot is sacrificed, including fighting Izzy. Eve is able to find Elliot, but is attacked by the water spirits. Rebecca helps her and Eve is able to swim to the surface. But the spring water gets inside Elliot, and with Ray having expelled some of it himself, he decides to save his son and sacrifices himself in his place. Night Swim ends with the rest of the family deciding to stay in the house while watching dirt cover the pool.

Night Swim’s Pool Lore Explained

Night Swim was different thanks to its pool, which fed from the spring water that was once, and still is, there. According to Kay’s possessed form, spring water was a form of magic . It acted like a wishing well in that it granted someone’s desires. But the spring water required a sacrifice in return, as it didn’t simply grant wishes for free. Someone had to keep giving. Before the desire is granted, however, the spring water had to come into contact with someone who had a powerful wish.

The water was able to manifest an object that would lure people to it before trapping them. Ray was the first one in contact with the pool after seeing a floating baseball, and that’s when the spring water decided to give him what he wanted. Since the spring water is ancient, it’s unclear when the wish-granting began, but it has taken multiple victims over generations. Once a sacrifice was made, the person whose wish was fulfilled would go on to live a successful life, but the pool would never stop terrorizing families so long as it existed.

Night Swim alludes to another family living there after Kay and Thomas moved out, but the pool remained unused because of Rebecca's drowning.

Why The Spring Water Chose Elliot As A Sacrifice

Elliot was seen as less than. He struggled with baseball when it was easy for his dad, and Izzy was a great swimmer and excelled in other areas as well. Meanwhile, Eve was the rock of their family and had her own ambitions to teach special education. While the water had contact with the whole family before turning its full scare tactics on Elliot, he was chosen as a sacrifice because he was lacking where others weren’t. Elliot was considered a throwaway, whereas Ray was the all-star baseball player who could continue being successful if he could return to the sport. Elliot was never going to achieve that by comparison.

Why Ray Sacrifices Himself & What It Means For The Waller Family

Ray sacrificed himself because he loved his family more than his baseball career. But it was difficult for him to give up his previous life, especially since he felt he no longer had the same purpose that his career in baseball gave him. Ray purging the spring water made him see things as clear as day, though, and he realized he couldn’t get his wish of playing baseball again if it meant Elliot had to die. Ray was a family man at the end of the day, and his son, regardless of feeling inferior in sports ability, was more important to him than anything else.

Ray’s sacrifice devastated the family, and they’ll be left to grieve him while picking up the pieces of their life. Remaining in the house not only protected other families from the same fate, but it also ensured the Wallers could remain close to Ray’s presence, even if he was gone. Now that the pool no longer proved a threat, the Wallers would be able to go on with their lives, though it won’t be normal. They’ll always be looking over their shoulders, and will most likely have to answer questions about what happened to Ray. But Ray’s sacrifice also means his family is safe from harm.

The Reason Rebecca Helped Eve While The Other Spirits Didn’t

Rebecca drowned in 1992, but Elliot heard her voice at one point during Night Swim . While the other spirits — likely all victims of the spring water over the years — were too far gone and corrupted by the water, Rebecca’s situation was similar to Elliot’s. Eve was doing what Kay never did: saving her child. Kay would’ve wanted to be saved by her mom. Rebecca sympathized with Elliot and Eve, and understood better than the other spirits what they were going through. Rebecca hadn’t received that same treatment from her mother, so it makes sense that she would help Eve save Elliot so the same thing wouldn’t happen to another child.

What The Spring Water Gains From Long-Term Possession

Kay was still possessed by the spring water decades after Rebecca's drowning, even though it had already granted her wish. It’s possible the spring water maintains its control over people so they won’t be bogged down by guilt for the sacrifice they make to obtain their heart’s desire. Conversely, it could be that the spring water continuing to possess the wish recipients is simply its way to keep them in line. If Kay or Ray had walked away from the pool after having their wish granted, they could have told others about it, and the magical water may not have wanted to be overwhelmed with people wanting their wishes fulfilled.

How Night Swim's Ending Leaves The Door Open For A Sequel

Ray may have sacrificed himself at the end of Night Swim , but the fact that his family remained in the house leaves the door open for a sequel to happen. After all, the Waller family could still be at risk of possession by the spring water. Just because they closed the pool and covered it in dirt doesn’t mean the water won’t travel through pipes in the house. What’s more, other people might take interest in what happened and decide to have an encounter with the pool themselves. A Night Swim sequel could ponder the aftermath of a family’s decision to stay after a sacrifice has already been made.

The Real Meaning Of Night Swim’s Ending

Night Swim is all about change and the ways in which living in the past can greatly affect someone and their family. While the spring water may attempt to grant people their heart’s desire, the idea of getting what one wants comes with consequences. In the Blumhouse horror movie ’s case, Ray’s unwillingness to leave his past life behind puts him in a vulnerable position and proves one good thing doesn’t always lead to another.

He had to deal with health issues and lifestyle changes that pulled him out of his career, but the yearning for his previous life and the glory that came with it didn’t have a positive impact. It was also pushing him to shift his focus from the new life he now led. Night Swim ultimately underscores the importance of family and the willingness one must have to embrace the most unexpected situations life has to offer. The grass isn’t always greener on the other side, and with all things magic and wishing, things don’t always turn out how one might expect.

The American Vision

Does Isaiah 13 Predict the ‘End of the World’?

An image of Isaiah 13 from the Bible with some highlighted verses was posted on Facebook followed by a comment that stated that “the wrath of God is coming on the world,” that is, our world that was 2700 years in the future from the time the prophecy was given to Isaiah. Of course, God hasn’t stopped with judging the world when He sent Israel and Judah into captivity or with Babylon, the Medes and Persians, Greece, Israel in AD 70, and the Roman Empire. God continues to judge the world.

Before any fulfilled prophecy can be applied, the original context must be understood. What is God describing in Isaiah 13, and when will it be fulfilled? He is not describing an end-time dispensational gap theology that includes a pre-tribulational rapture of the church, a seven-year-period separated from the 69 weeks of years (483 years) to be ruled by the Antichrist supposedly described to Daniel in Daniel 9:24-27, etc. When dispensational commentators are consulted, this is what they have in mind. Amillennialists often offer similar interpretations but without the gaps. Like dispensationalists, their timing indictors are ignored or misapplied. 

It’s not wrong to refer to past historical judgments to call on people and nations to repent. Paul did it in Acts 17:31 when he told the Athenians that God was “about to [μέλλει/ mellei ] judge the  oikoumenē ” (translated as “world” in most translations), that is, their world! Let’s not forget what Jesus said to His disciples: 

“For the Son of Man is about to [μέλλει/ mellei ] come in the glory of His Father with His angels and WILL THEN REPAY EVERY MAN ACCORDING TO HIS DEEDS. Truly I say to you, there are some of those who are standing here who will not taste death until they see the Son of Man coming in His kingdom” (Matt. 16:27-28).

When these soon to take place judgments happened, God’s judgment was neither postponed nor stopped. They serve as warnings as Paul stated in 1 Corinthians 10:11: “Now these things happened to them [Old Covenant Israel] as an example [τύπος/type], and they were written for  our instruction , upon whom the ends of the ages have arrived.” The “our instruction” refers to the people in Paul’s day related to the upcoming judgment on first-century Israel that took place in the lead up to and including the destruction of Jerusalem that happened in AD 70. All generations can learn from Israel’s moral mistakes as well as the moral mistakes of Rome, the French Revolution, the Soviet Union, Nazi Germany, and modern-day United States. No one is exempt from God’s judgment.

Now back to Isaiah 13 that’s a prophecy about the destruction of Old Testament Babylon. The first verse gives us the context: “The pronouncement  concerning Babylon  which Isaiah the son of Amoz saw.” Note the timing on that judgment: “Wail, for the day of the LORD is  near ! (v. 6) to “destroy the whole land” (v. 5). De-creation language was used to describe a coming judgment on the Babylonian empire (vv. 9-10). 

Behold, the day of Yahweh is coming, Cruel, with fury and burning anger, To make the land a desolation; And He will exterminate its sinners from it. For the stars of heaven and their constellations Will not flash forth their light; The sun will be dark when it rises And the moon will not shed its light.

That world of Babylonian rule, not our world. The day of judgment for Babylon was near. There is no indication that there is a gap of 2600 or more years between verses 10 and 11.

Here are additional OT examples of de-creation language in conjunction with the fall of nations:

Edom’s judgment: 

“And all the host of heaven will wear away, and the sky will be rolled up like a scroll; all their hosts will also wither away as a leaf withers from the vine, or as one withers from the fig tree” (Isa. 34:4).

Egypt’s judgment:

“And when I extinguish you, I will cover the heavens and darken their stars; I will cover the sun with a cloud and the moon will not give its light. All the shining lights in the heavens I will darken over you and will set darkness on your land,” declares the Lord God” (Ezek. 32:7-8). 

There are more examples of de-creation language among the OT prophets  (Ps. 18; Isa. 51:6; Jer. 4:24; 15:9; Amos 5:20; 8:9; Joel 2:31; Zeph. 1:14-16; Mal. 4:1, 5) and the NT (Matt. 21:21; 24:29; Rev. 6:12-14; 8:8, 12; 12:4; 18:21). David Chilton comments: 

As the sixth Seal is broken (Revelation 6:12-14), we are more clearly brought into the events of Israel’s “last days.” The Lamb reveals the next great aspect of His covenantal judgments, in a symbol often used in Biblical prophecy: de-creation. Just as the salvation of God’s people is spoken of in terms of creation (cf. II Corinthians 4:6; 5:17; Ephesians 2:10; 4:24; Colossians 3:10), so God’s judgments (and the revelation of His presence as Judge over a sinful world) are spoken of in terms of de-creation, the collapse of the universe—God ripping apart and dissolving the fabric of creation. Thus St. John uses the fundamental structures of creation in describing the fall of Israel. [1]

When I pointed out to the Facebook poster that Isaiah’s de-creation language referred to OT Babylon, he responded with the following: 

Primarily aimed at Babylon, I agree. However, the NIV and other translations use the term “world” which would refer to current days.

The use of “world” does not always mean the whole wide world even when a kingdom like Babylon considered itself to be the center of the whole world. The “Babylonian world map” is “the map of the cosmos symbolically featuring Babylon as the center of the universe and intentionally connecting them to a higher realm from which they drew meaning for their existence.” ( Source )

There are numerous definitions of “world” in common speech and the Bible. In the New Testament, the Greek word  kosmos  can designate the entire created order (Matt. 13:35; 24:21; Luke 11:50; John 17:5, 24), the earth in particular (Matt. 4:8; Mark 14:9; Luke 12:30; John 11:9), a large group (John 12:19), a political/social/religious system (Rev. 11:15), a competing world system (1 John 5:19), and the world in which people live at a particular point in time. [2]

Myths, Lies, and Half-Truths

Myths, Lies, and Half-Truths

Christianity's failure to show itself practical in the past 150 years has guaranteed the success of secularism and militant Islam, both of which are doing incalculable harm at home and abroad. The rejection of any type of this worldly application of the Bible has resulted in the proliferation of man-centered worldviews that have steadily drained the life out of our world and left behind a spiritual vacuum.

The Pharisees were concerned enough about Jesus’ impact on the hearts and minds of the Jews, especially in the capital city of Jerusalem, that they issued this frantic warning: “The world [κόσμος/ kosmos ] has gone after Him” (John 12:19; cf. 7:4; 14:22; 16:21; 18:20). How can it be “that friendship with the world is hostility toward God” (James 4:4) when we know that “God so loved the world” (John 3:16)? If “world” is given the same meaning in every context in which it appears, then we would have a contradiction. Paul wrote, “I thank my God through Jesus Christ for you all, because your faith is being proclaimed throughout the whole world [κόσμῳ/ kosmō ]” (Rom. 1:8). In Colossians 1:23, Paul wrote, “if indeed you continue in the faith firmly established and steadfast, and not moved away from the hope of the gospel that you have heard, which was proclaimed in all creation under heaven, and of which I, Paul, was made a minister.” Even though the word “world” is not used, the passage gives the impression that the planet at that time had heard the gospel.

The judgment on Babylon was a judgment on the world at that time. The Septuagint (LXX), the Greek translation of the Hebrew Scriptures translates the Hebrew תֵּבֵל (tay-bale’) in Isaiah 13:11 (translated as “world” in the NIV) as τῇ οἰκουμένῃ, the same Greek word used in Matthew 24:14, Luke 2:1, Acts 11:28; 17:6, Revelation 3:10 and elsewhere that means no more than the world empire at that time.

This is from Joseph Benson’s commentary:

“Isaiah 13:11-16.  I will punish the world  — The Babylonish empire, which is called the world, as the Roman empire afterward was, (Luke 2:1,) because it was extended to a great part of the world, and because it was very populous, and Babylon itself looked more like a world than one city.

This is from Albert Barnes’ Commentary: 

And I will punish the world — By the ‘world’ here is evidently meant the Babylonian empire, in the same way as ‘all the world’ in  Luke 2:1 , means Judea; and in  Acts 11:28 , means the Roman empire. Babylonia, or Chaldea, was the most mighty empire then on earth, and might be said to comprehend the whole world.

This is from Matthew Poole’s commentary: 

The world; the Babylonish empire, which is called the world, as the Roman empire afterward was,  Luke 2:1 , because it was extended to a great part of the world, and because it was vastly populous, and Babylon itself looked more like a world than one city.

This is from John Gill’s commentary: 

And I will punish the world for their evil — Not the whole world, but the kingdom of Babylon, so called because of its large extent, and the number of its inhabitants, just as the Roman empire is called the whole world,  Luke 2:1  “evil” may be meant, either of the evil of sin, which was the cause of punishment, or else of the evil of punishment itself; and the sense be this, I will visit, or, in a way of visitation, I will bring evil, or evils, upon the world.

This is from Adam Clarke’s commentary:

I will punish the world “I will visit the world” — That is, the Babylonish empire; as ῇ οικουμενη, for the Roman empire, or for Judea,  Luke 2:1 ;  Acts 11:28 . So the universus orbis Romanus [the whole Roman world], for the Roman empire;

This is from John Calvin’s commentary:

  And I will visit upon the world wickedness . Here the Prophet does not speak of the whole world; but as Babylon was the seat of the most powerful of all monarchies, he gives to it on that account the name of the world, and he does so emphatically, ( emphatikos ) for Babylon was a kind of world, because it appeared to occupy nearly the whole earth.

In addition, J. Alec Motyer in  The Prophecy of Isaiah: An Introduction and Commentary  understandsתֵּבֵל ( tay-bale’ ) as “the inhabited world.” [3]  Here are some other examples:

• Henry Cowles, in his commentary  Isaiah With Notes  writes, “‘Punish the  world  for their iniquity’ conceives of the great Chaldean empire as embracing most of the world then known to the Jews. Thus ancient authors called the Roman empire ‘the whole world.’” [4]

• “World is here applied to the Babylonian empire, as embracing most of the known world” (J. A. Alexander, 1851).

• “The world.] i. e. The Land, or the Sinners of Babylon” (William Day, 1654).

• “The world, which God declares that he would punish, must be understood in a limited sense, as in many other prophecies to signify the large portion of the inhabited earth which was subject to the Babylonian empire, whose territories were very extensive. In the same manner, the Roman empire is called the whole world in the New Testament” (Robert Macculloch, 1794).

• “So the Roman empire and the world are often confounded together, as nearly equivalent terms” (T.R. Birks, 1871).

• “‘I will visit the  world ’] That is, the Babylonish empire: as ῇ οἰκουμένῃ, for the Roman empire, or for Judea; Luke ii. 1. Acts xi. 28” (Robert Lowth, 1836).

How would the people of Isaiah’s day have understood the prophecy revealed to Isaiah? To that first audience, Babylon meant Babylon. Jesus appropriates Isaiah’s judgment language and applies it to the New Covenant Babylon—Israel. He does this in Matthew 24:29. John is given a revelatory application in Revelation 17-18 where Babylon was Israel as well as Sodom and Egypt (11:8). Fulfilled prophecy has not lost its power. It’s a reminder that God is our Judge and Savior. What we should not do is create an entirely new prophetic system to accommodate the belief that there are two peoples of God and that Jesus failed in His redemptive mission. He did not. See American Vision’s new book  The Hope of Israel and the Nations:  New Testament Eschatology Accomplished and Applied.  

The Hope of Israel and the Nations

The Hope of Israel and the Nations

The reader and student of the Bible must first understand the content of the New Testament writings in terms of how those in the first century would have understood it. The New Testament is written against the background of the Old Testament. The shadows of the Old were fulfilled in the reality of the New. All the rituals and ceremonies were fulfilled in Jesus. The same is true of the temple, land, blood sacrifices, the nature of redemption, the resurrection of the dead, the breaking down of the dividing wall dividing Jews and Gentiles, and so much more. The New Testament's emphasis is on the finished work of Jesus and its application, not only to that Apostolic generation but to the world today.

[1] The Great Tribulation  (Dallas, GA: Dominion Press [1987] 2024), 83. This reprint will be available soon from American Vision.

[2] See Gary DeMar,  Myths, Lies, and Half-Truths  (Powder Springs, GA: American Vision, 2010), chaps. 1 and 2.

[3] (Downers Grove, IL: InterVarsity Press, 1993), 138.

[4] (New York: D. Appleton and Company, 1880), 107.

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the wraith ending


  1. The Wraith All Endings

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  5. THE WRAITH [1986] Review

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  6. Cinemaphile: The Wraith / **1/2 (1986)

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  1. The Wraith (1986)

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  6. Ending Jumpscares


  1. The Wraith

    The driver challenges Packard's gang to a race, ending in high-speed, explosive crashes in which one of the gang members is killed. His body appears unharmed afterwards except for burned-out eye sockets. The Turbo Interceptor then reconstructs itself and eludes the pursuing Sheriff Loomis in a cloud of glowing light.

  2. Can anyone explain the ending to The Wraith (1986)? Spoilers ...

    Or did Packard kill her that night ("if I can't have you, no one can") and after Jamie gets his revenge her soul is freed and she finally can go to heaven with Jamie on the back of a 1985 Honda XL350R? That's the only scenario that doesn't make him out as really selfish, in my opinion. Sort by: Add a Comment wakejedi • 1 yr. ago

  3. plot explanation

    Each time one of the gang members dies, a metal brace on the driver's outfit can be seen on the ground right before it glows with a white light and then disappears. Has anyone involved with the film commented on what these metal braces are? plot-explanation the-wraith Share Improve this question Follow edited Jan 30, 2017 at 17:40

  4. The Wraith

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    http://www.TheWraithMovie.com In this scene from The Wraith Jake reveals to Keri Johnson and Billy that he is Jamie and gives Billy the Wraith Car.http://www...

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    A bright light appears above Packard's body as he passes away. The light seems to be some sort of otherworldly force that takes Packard's soul away. The light then moves towards Jake, enveloping him and seemingly taking him back to the afterlife. This ending has sparked various interpretations among fans and critics alike.

  7. THE WRAITH "The Final Duel" Clip (1986) Action Fantasy Horror

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  8. The Wraith (1986)

    In a small town in Arizona, a mysterious man/spirit descends from the sky and manifests in a sports car and targets a local violent road-racing gang of motor heads, headed by a ruthless bully who'll do anything to get what he wants. Director Mike Marvin Writer Mike Marvin Stars Charlie Sheen Nick Cassavetes Sherilyn Fenn

  9. After All These Years … Mike Marvin Talks The Wraith

    A dynamic if occasionally confusing confectionary of Clint Eastwood, David Lynch, John Hughes and George Miller, The Wraith remains one of the definitive guilty pleasures of 80's sci-fi horror...

  10. The Wraith (1986)

    The Wraith substitutes Charlie Sheen for Eastwood's Man With No Name and a mirrored-black Porsche Turbo for a horse, but tells essentially the same story and with the same twist ending. Alas, The Wraith lacks any of the moral complexity of High Plains Drifter - the victims are all one-dimensional and deservous, not to mention badly overacted.

  11. The Wraith

    Packard wastes no time in challenging the driver to a race, and he meets his end when the Turbo Interceptor blows up his car in a head-on collision. Walking back to town alone, Keri hears the explosion, but she just keeps on walking. Upon seeing the aftermath of the crash, Loomis decides to stop pursuing the Wraith, not only because he ...

  12. The Wraith (1986)

    In a small town in Arizona, a mysterious man/spirit descends from the sky and manifests in a sports car and targets a local violent road-racing gang of motor heads, headed by a ruthless bully who'll do anything to get what he wants.

  13. 10 Things You Didn't Know About The Wraith

    During a trip to 7-11, Sherrill and Griffin O'Neal (who played fellow gang member Oggie) were sitting in their car eating burritos when a guy leaned in, grabbed O'Neal's burrito, and took a bite. Sherrill said that led to a fight with a group of guys and how O'Neal was like a pit bull, tearing into the guy who ruined his meal.

  14. The Wraith (1986) questions and answers

    The Wraith ( 1986) 6 questions ★★★★☆ (4 votes) Add something More info Mistakes Quotes Pictures Questions Corrections Trailer More Question: What did they use to create the sound of the Turbo's engine? Answer the question Question: Were there scenes in the movie that were shot but deleted?

  15. The Wraith

    The Wraith is the title character of the movie of the same name, which was written and directed by Mike Marvin and released in 1986. Acted out in the film by Charles "Charlie" Sheen, The Wraith is a vengeful magitech (or possibly alien-resurrected) spirit who challenges road pirates to races to the death. Nicholas "Nick" Cassavetes acts out his greatest enemy, Packard Walsh, in the same film ...

  16. THE WRAITH [1986] Review

    The Wraith Directed by: Mike Marvin Written by: Mike Marvin Starring: Charlie Sheen, Nick Cassavetes, Randy Quaid, Sherilyn Fenn. USA AVAILABLE ON Blu-ray, DVD and Digital. RUNNING TIME: 92 mins. REVIEWED BY: Dr Lenera. In the town of Brooks, Arizona, Packard Walsh and his motorised gang force drivers to drag-race so they can 'win' their vehicles.

  17. The Wraith Race 4 (1986) HD

    Final race scene from the 1986 cult classic 'The Wraith.'

  18. The Wraith (Film)

    An unidentified car and its armor-clad driver challenge the gang, one by one, to a race ending in their death. Sheriff Loomis (played by Quaid) investigates these deaths not only in hope of catching the killer, but also as a means of catching Packard in the act.

  19. [SPOILER] What do you think of the Wraith ending? : r/HookedOnYou

    I downed like three bottles of bev during his entire run, and when I saw him laying there all bloody and exposed for me I had to rise from my seat as steam blew outta my ears, my eyes bulging outta my face as I slammed a hammer into my head over and over again and AWOOOOOGAAAA!!!! HUMINA HUMINA!!!! Yknow??

  20. The Wraith : Mike Marvin : Free Download, Borrow, and Streaming

    Hail The Wraith!!! Reviewer: Anonymous - favorite favorite favorite favorite favorite - February 28, 2023 Subject: One of my favorite movies. I always loved this movie The Wraith, plus I love the ending it was so awesome, Jake got rid of the gang excepted for Rudhead because he didn't take part in the murder of Jamie Hankins and Jake got a ...

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    July 7, 2023 'The Wraith Within' (2023) Ending, Explained: Is The Curse Of Ami Cutter Lifted? There are good actors with bad scripts and then there are horrible actors with even worse scripts. More than half of the cast in Aaron Strey's atrocious 'horror' movie The Wraith Within fall in the latter section.

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  23. The Wraith All Endings

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    House Speaker Mike Johnson, who is facing the wrath of conservative House Republicans, could end up facing the same fate as former Speaker Kevin McCarthy, according to multiple reports. Newsweek ...

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    Yuri Watanabe's Role in Marvel's Spider-Man 2. While Peter investigates civilians trapped in a hospital after the Sandman attack, he crosses paths with Yuri, who is now fighting crime as the costumed figure Wraith and currently on her own vendetta against The Followers of the Flame. The cult's leader, who we later learn is Cletus Kasady ...

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  27. The Wraith (1986) Trailer #1

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  28. Does Isaiah 13 Predict the 'End of the World'?

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