Pesadelos da Guerra

I have commented before on how I generally find David A. Prior's ideas to be really cool, but his direction to be very poor. The big exception to this was `Lock ‘N Load,' which I found to be great. Other good Prior movies are the higher-budgeted `Raw Nerve' and the silly but fun `Invasion Force.' I watched `Night Wars' not really knowing what to expect. The plot sounded neat, but it was still a low-budget AIP movie with only one name star, Dan Haggerty. But as it unfolded, I was really surprised.

Two Vietnam buddies, Trent and Jim, trying to live normal lives, start to have bad dreams nine years after their time in the war. Their nightmares are always about the war and a third friend, Johnny, who they left behind in the hands of an American turncoat, McGregor. Eventually, the nightmares begin infesting themselves in the daylight hours when Trent and Jim start to fall asleep at any given moment, and that's when events in the dream start to cross over into reality, like when one of them gets cut in a dream, they get cut in reality. That is when the two friends realize they must somehow enter the nightmares willingly and either get Johnny out this time or die trying. At the same time, Trent's wife has contacted a psychologist (Haggerty), also a Vietnam vet, about her husband's odd activity. Concerned, he tries to intervene at the worst possible time.

This movie has a lot going for it and for once an AIP movie is not at all hindered by its budget. Prior's early dream sequences are quite good. He makes good use of lighting to make them scary. He keeps early dreams dark and adds neat touches like red tints which makes soldiers wearing dime store rubber skull masks look convincing and freaky where in any other way they would have looked silly. There are also some rather impressive effects. The scene where Trent sees McGregor in the mirror and McGregor sticks a gun into the mirror is a radical and inexpensive special effect. The soldiers rising out of the dirt had a good effect, too. And the scene where Haggerty, having given Trent and Jim sedatives, is racing to Trent's home to try and save Trent's wife is exceptionally done. And of course it is all made better by a fine musical score by Tim James and Steve McClintock. I was all set to give this movie an 8 or 9, surpassing `Lock ‘N Load' as the best of Prior's movies, when the ending happened. I won't reveal what it consisted of, but I will say that it was a cop-out. Gone was the adrenalin in my blood for what would happen next. Gone was the hope that an explanation of how the events were happening would arrive. Gone was the atmosphere that had been looming so well over the whole movie. This is the only black mark on an otherwise great low budget film (well, other than spotting a crew member's hand tossing a gun onto the screen after a soldier was shot), but it is a serious one. The result for me is that it ties `Lock N' Load' as Priors best movie (out of the twelve I have seen). Zantara's score: 7 out of 10.

Vietnam veterans Trent Matthews (Brian Edward O'Connor, a poor man's Robert Ginty) and Jim Lowery (Cameron Smith) are suffering from recurring dreams about the war; as they sleep, they battle the Vietcong in an attempt to rescue fellow soldier Johnny (Chet Hood), who they had to leave behind during their escape from a prisoner-of-war camp nine years earlier. Also haunting their nightmares is sadistic traitor McGregor (Steve Horton, overacting wildly), who wants to continue with his torture of the men.

Waking to find that injuries sustained in their dreams leave real marks on their bodies, Trent and Jim realise that they must confront their fears or die. Arming themselves to the teeth, they enter their dreams to make one last ditch effort to find Johnny and drag him into reality.

Borrowing heavily from A Nightmare on Elm Street, but with a Vietnam war film twist, Night Wars is wholly unoriginal late-'80s straight-to-video nonsense that suffers from a serious lack of logic. Now I know what you're thinking - dreams don't have to make sense - but the film needs to adhere to a few rules for it to work.

Case in point: taking weapons into the dreams. When Trent and Jim fall asleep, they do so with loaded firearms in their hands, which they fire in reality whenever they do so in their dream. In their final rescue attempt, they also lob around a fair few grenades, but conveniently fail to throw a single real grenade in the room in which they are asleep. Consistency be damned!

The film is also unclear about how Johnny and McGregor are projecting themselves into Trent and Jim's dreams. There is no suggestion that they are dead. Is it astral projection? If so, how did they learn to pull off this trick? At one point, McGregor even attacks Trent's wife as she sleeps, with no explanation about how he manages this. And are Trent and Jim astrally projecting themselves as they snooze, their spirits manifesting in Vietnam? None of it makes a lick of sense.

I will give props for the number of bloody squibs used in the shootouts - hence my generous rating of 3/10 - but there are better things you could be doing with your time.

N.B. Despite getting top billing, Dan Haggerty only has a supporting role as concerned doctor Mike Campbell.

Trent (Brian O'Connor) and Jimmy (Cameron Smith) are two Nam vet buddies who escaped a POW prison camp only to face worse horrors at home when the past literally comes back to haunt them. They're harassed by a soldier they left behind and a sadistic traitor who helped torture them, and when they're attacked in their dreams, they emerge with real scars (a la A NIGHTMARE ON ELM STREET). The two deck out in cameo and carry high-powered machine guns into their dreams to fight back after one's wife is raped and killed by a ghost. Dan (GRIZZLY ADAMS) Haggerty is the top-billed guest star. He plays a psychiatrist who tries to "help" by holding them at gunpoint, drugging them and tying them up in his office!

The premise is somewhat new, but the unconvincing Nam flashbacks look like the stars are playing War Games in the woods behind their house, the dialogue ("Let's do it!," "I'm scared, man!") is annoying and the action and horror scenes just aren't very exciting.

Prolific director David A. Prior also combined the war and horror genres in THE LOST PLATOON (1989) and also directed KILLER WORKOUT (1987), MARDI GRAS FOR THE DEVIL (1992) and MUTANT SPECIES (1995) in between all his cheapo action movies. He scripted from a story he wrote with his brother Ted Prior and William Zipp (both of whom acted in his previous films).

Oh, dear, this one is awful! I once bet a Navy Chief Petty Officer, a Marine Gunnery Sergeant, and a couple of enlisted guys a case of beer if they could get through it without "losing it," and I let them decide for themselves what "losing it" meant. I won the beer.

One learns a number of interesting things about infantry combat in this little retcher - for one thing, the Viet Cong ought to sue the makers for defamation (it was shot in Mexico, and most of the bad guys are remarkably un-Asian types who the credits reveal have names ending in "ez.") Let's start with the a new martial arts technique - get your opponent face-down and pull his hair back and voila! his neck breaks. Evidently that's what my little sister was after lo those many years ago...

The idea, of course, is a post-traumatic-syndrome exploitation flick. One views a patrol of good guys, evidently Woodstock castoffs, stumbling through the Vietnamese jungles falling over one another - "combat separation" here evidently refers to "get 12 guys into the camera's viewfinder simultaneously." One shot down the trail would have shish-kebab'd these goofs out of their misery. And what misery it was...

Here we have the hero, in the middle of a desperate firefight, ducking behind a tree and for some reason popping the magazine out from his .45 - perhaps to see how many "bullets" were left - I use the term "bullets" advisedly since the camera closeup reveals, in all its brassy glory, the crimped end of a blank cartridge. Appalling.

The climax involves our heroes stuffing a cheap hotel room with enough ordnance to sink an aircraft carrier, then, as do all who are minutes away from furious mortal combat, falling asleep. I shall leave the denouement for those stubborn enough to last that far...

Three thumbs-down, but a decent effort for the truly masochistic.

Viewers will find it easy to criticize this low-budget, no-name effort found only on the dusty backshelves of a few video stores. It suffers from the flat dialog, so-so acting, haphazard scripting, and awkward pacing so often found in these Grade-Z productions.

And yet there's something about the merger of nightmare and reality in "Night Wars" which gives it an odd, almost haunting quality which softens the edges of all its many faults. Or, putting it another way, considering the vast resources spent on "Pearl Harbor" versus the scant resources spent on this movie, which one is really the more satisfying achievement?

Aside from that blurring between waking and dreaming, the most distinctive feature here comes in the form of two torture scenes occurring in Vietnamese POW camps. In the first scene, Cameron Smith has a red-hot metal rod pressed against his bare chest while he's tied between two posts, and in the second, Brian O'Connor -- tied between two trees -- has strips of barb-wire tightened around his naked torso. Unlike many Hollywood movies in which the hero suffers stoically, these two men scream with open-mouthed agony. (You can even count the fillings in Cameron Smith's teeth.) And unlike many Hollywood heroes, these two men don't have perfectly-chiseled physiques. (O'Connor especially shows signs of middle-aged flab.) The result is unnerving because the torture seems to be inflicted on real men rather than movie actors.

Top-billed Dan Haggerty has little to do in his part and Steve Horton overdoes the wild-eyed look as the sadistic villain, but Jill Foor invokes suitable sympathy as Brian O'Connor's bewildered wife. As for the two tormented ex-POWs, O'Connor is earnest and almost even appealing and Cameron Smith has the born-to-be-tortured look which is just right for this part.