Surprisingly incoherent and boring

Absolutely the worst movie.

By the time the dramatic fireworks start popping off, each one feels earned.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

The movie was alright..The used car man was hot! The salesman..those eyes. They don't make men like that in the 2000's. He is played by David Ott. Are there any other films featuring him (topless hopefully).The car chase doesn't last long enough.He's cute.Acting is OK but he is quite the comic relief.At first glance he looks like the late Michael Hutchance from INXS.Would like to see him today.Thought I caught him uncredited in Vanilla Shy but that is some years later.Possibly has short role in "Sex and the City"

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).

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.

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.