Fury (2014)



 It's April 1945. World War II is almost over, and the Allies are advancing deep into Germany. Don "Wardaddy" Collier (played by Brad Pitt) commands a tank crew in a machine they call "Fury." These soldiers have been fighting together since the North African Campaign two years ago. They're like brothers, willing to fight until the very end.


Then there's Private Norman (Logan Lerman), a young and inexperienced new recruit who has never seen combat. Dumped directly into the war, Norman soon discovers he's not cut out for this. But all bets are off. Outgunned and outnumbered, the men have to fight to stay alive—it's kill or be killed.


Fury, directed by David Ayer, is a gritty and realistic portrayal of World War II. It's not heroes on a rescue mission. It's what war does to the men who survive it. We know this won't be a feel-good war movie from the first scene. The movie starts with a man riding by horse, going past heaps of corpses—it is the end of the world, it seems. It is as unsettling as it is effective, something that catches your attention.



What Fury does well is depict the brutal, gory reality of war. The crew isn't on secret missions—they're just traveling through Germany, town by town. They're attacked along the way by Nazi troops. Norman, the new recruit, has a hard time because he's never been in combat before and can't shoot to kill. The rest of the crew is harder, but war has hardened them. For instance, Grady (Jon Bernthal), the loader of the tank, has gone off the rails. The movie depicts how people are stripped of their humanity by war and gets us questioning right and wrong in combat.


As the tank crew ventures deeper into Germany, director David Ayer inserts intense and brutal combat scenes. The combat is violent and disorganized, and you can sense how trapped the crew is in the tank. You can also sense how difficult it is to maneuver the heavy vehicle over ravaged towns and bumpy terrain. The location—war-torn Germany—is realistic and tense, and the movie shuns the traditional heroic, showy war combat.


To be fair, Fury doesn't hold back and is bold, but it's not flawless. Some characters do not feel very realistic, and a few dialogue lines are poorly done. Additionally, the ending (no spoilers!) is a little weak compared to the rest of the movie.


Nevertheless, one thing is certain: war is hell. Fury is an intense war film with intense action sequences. It departs from the stereotypical "good guys vs. bad guys" tale we are accustomed to in war movies. Ultimately, it presents a raw and unflinching glimpse of what it's like to be trapped inside a tank, deep within enemy territory, fighting to survive.




Written and directed by: David Ayer


Starring: Brad Pitt, Logan Lerman, Shia LaBeouf, Michael Peña, Jon Bernthal, Jason Isaacs


Distributed by: Columbia Pictures

Run Time: 146 minutes



Comments

Post a Comment

Popular posts from this blog

Image
  The Lingua of Longing: A Review of Denis Villeneuve's "Arrival" When Denis Villeneuve's Arrival arrived in 2016, it introduced a welcome blast of intelligence, subtlety, and emotional resonance into the sci-fi genre—a genre too often filled with bombastic spectacles and out-of-control alien invasions. Based on Ted Chiang's novella Story of Your Life, with a screenplay by Eric Heisserer, Arrival is more a film about language, time, memory, and the most profound creases of human connection than it is about aliens. A slow-burning cerebral exercise, a contemplation more than a race, a first-contact movie that is an elegy in disguise. The story is innocently straightforward at first sight: twelve extraterrestrial spacecrafts, or "shells," land at different locations around the world. Dr. Louise Banks (played by Amy Adams), an expert in linguistics, is recruited by the U.S. Army to assist in deciphering the language of the alien beings, which have become co...
Read more

The Art of Deception: A Dive into Gone Girl

Image
  The Art of Deception: A Dive into Gone Girl David Fincher’s Gone Girl (2014) is more than just a thriller—it’s a masterclass in deception, manipulation, and the dark complexities of human relationships. Adapted from Gillian Flynn’s bestselling novel, this psychological thriller weaves a story of love, lies, and betrayal that keeps viewers on the edge of their seats. With standout performances, razor-sharp direction, and a plot that refuses to let go, Gone Girl remains a landmark in modern cinema. Plot Overview On their fifth wedding anniversary, Nick Dunne (Ben Affleck) discovers his wife, Amy (Rosamund Pike), is missing. The case quickly gains national media attention, but as secrets unravel, Nick becomes the prime suspect. What begins as a mystery about a missing wife spirals into a dark exploration of marriage, identity, and the masks people wear. Suspense and Pacing Fincher masterfully builds tension, blending a slow-burn narrative with shocking twists. The non-linear stor...
Read more
Image
  DON'T LOOK UP (2021) It is not a simple moment for satire. Throughout Trump's presidency, politics in real life got so crazy that to mock them just seemed unnecessary. And yet, some clever creatives started thinking that satire had to educate folks on morals. But that isn't what satire is actually all about. Fine satire is that which amplifies and mocks stupidity—it doesn't attempt to fix or provide answers. Strictly speaking, that makes Adam McKay's Netflix movie Don't Look Up an instance of satire, but in many ways, unfortunately, not very effective at all. It resembles a social media meme rather than cutting wit.  The movie itself is quite milky and even somewhat arrogant. Not because it doesn't take a clear political stance—satire doesn't need to—but because it's too long, too heavy-handed, and too confident that some "good people" might save the world if only we would listen to them. It invents a absurd world populated by silly chara...
Read more