The beginning of the fifth installment to the WOAD series drops hints at the mortality of innocence and youth. A screeching noise followed by the ominous "nuclear power" symbol tells the viewer to prepare for a ride that he or she will never forget. However, moments later, the introduction of the film's actresses does nothing but foreshadow the imminent destruction of the innocence of youth. The contrast between vitality and degradation has never been so laid out for the viewer in the "Weapons" series. Jules Jordan clearly had a vision when he wrote this screenplay.

The first scene involves a nurse -- a commentary on the health care system of the United States. Jordan clearly feels that the medical profession has been inundated by corporations who have made profits a top priority over the well-being of patients. This concept is illustrated by the nurse who takes good care of her patient, yet overwhelms his sexuality with anything and everything except for tenderness and care.

The second scene is an abstract piece about aging that transitions nicely into the third scene, a blatant social expose on international affairs. It is fitting that in this scene, the actress is a British girl, Isabel Ice, making her finest film since "My Ass is Haunted." The symbolism is powerful -- two Americans smothering a single foreign girl, so lost and so afraid in the corporate capital of America known as Hollywood. The attention paid to her, according to the director, is an attempt to compensate for the mistreatment that she is truly receiving. The end of this scene has an interesting twist that reminded me of the "rosebud" scene from Citizen Kane. Hearing the haunting phrase will never again have the same connotations to you after seeing this film.

I would suggest to anybody who enjoys this genre to pick up a copy of WOAD 5 today. It may change your outlook on film, but it also might just change your outlook on life. I won't spoil the ending, but if you think Jordan was satisfied with his metaphors relating to health care, loss of innocence, international relations, and aging, you are sorely mistaken.

7 stars out of ten

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