Director: David Ayer
Writer: David Ayer
Stars: Brad Pitt, Logan Lerman, Shia LaBeouf, Michael Pena
Release date: October 24th, 2014
Distributor: Columbia Pictures
Countries: USA, UK
Running time: 134 minutes
Best part: The tank battles.
Worst part: The machismo dialogue.
Considering his current critical and commercial acclaim, It’s hard to believe actor/producer Brad Pitt was once considered one of Hollywood’s most irritating personalities. Back in the early 1990s, general audiences and film aficionados beat his reputation into submission. However, within just two years, the hat-trick of True Romance, 12 Monkeys, and Se7en hurled him into the stratosphere. After this ball-busting trifecta’s release, people saw a thespian instead of a dumb-looking pretty boy.
In Tinseltown’s latest war-actioner, Fury, his character’s introduction asks a valuable question: Seriously, what would the world be like without this spirited performer? Guiding this flick through the trenches, the 50-year-old mega-star throws everything at the intriguing material. Thanks to his cool persona, fun sense of humour, stunning looks, and immense physicality, he is exactly who men want to be and women want to be with. So, beyond my overwhelming man crush, is Fury worth saving from tyranny or destroying with a big f*ucking tank? Thankfully, it falls into the former. The story delivers a horrifying take on World War II’s battlefields and mass graves. It’s April 1945, and the Allies have snatched the European Theatre of War from Hitler’s Nazi Germany. The narrative is, remarkably so, constructed by one extended take. The first shot depicts a Nazi officer straddled atop a white horse. Striding through a smoke-and-blood-stained war-zone, the mounted superior is ambushed and murdered by a beige-covered soldier. This murderous man is battle-hardened US Army Staff Sergeant Don “Wardaddy” Collier (Pitt). Wardaddy – holding up the 66th Armour regiment, 2nd Armoured division – commands a M4A3E8 Sherman tank called, you guessed it, “Fury”. We meet his crew – gunner T/5 Boyd “Bible” Swan (Shia LaBeouf), driver CPL Trini “Gordo” Garcia (Michael Pena), and loader PFC Grady “Coon-Ass” Travis (John Bernthal) – mourning their assistant driver/bow gunner’s gruesome demise.
Having toured together since the North African Campaign, the crew despises everything. Recently enlisted typist PVT Norman “Machine” Ellison(Logan Lerman), having zero warfare experience, becomes a major obstacle during the team’s latest mission. Guided by CPT “Old man” Waggoner (Jason Isaacs), the squad pushes straight through the Fatherland. These events, taking up the simmering first third, develop Fury‘s heart and soul. Introducing the team and tank within the opening shot, Fury defends this loyal squad the way Wardaddy defends his Macklemore haircut. Playing to his strengths, writer/director David Ayer (Street Kings, End of Watch) ditches the mean streets of Los Angeles for the meaner landscapes of 20th-century Germany. Ayer proves himself to be a better story-teller than screenwriter. Guided by egos and wavering accents, the movie approves of its characters’ despicable behaviour. In fact, it may prove too much for some liberal-minded viewers. Developing a 134-minute dick-measuring contest, its ‘badass’ lines and brutal images craft a relentless take on WWII. Throughout the narrative, as the team surges from one battle to the next, the team serves to talk down to, then pick back up, Lerman’s character. Ayer’s story and character tropes – brotherhood, death, masculinity, existential angst – are lathered on thick. Pitt, LaBeouf, Pena, and Bernthal’s characters are given little development. However, the team itself tugs Fury‘s emotional threads. Analysing their broken-down psyches, the movie fights for our blood-stained anti-heroes through the worst.
“Ideals are peaceful. History is violent.” (Don “Wardaddy” Collier (Brad Pitt), Fury).
Essentially, Fury is an intensifying concoction of Saving Private Ryan, Lone Survivor, and Inglorious Basterds. Sheltered within its dour and morose middle-third, one sequence delivers a slice of humility. Wardaddy and Norman find two pretty, blonde women in an apartment. Despite their positive-role-model personas, they carry out a bizarre form of statutory rape. Soon after, the entire team argues around the breakfast table. This standout sequence, upping the tension and pathos, marks Ayer’s evolution from adrenaline-fuelled pyro-head to seasoned, mature filmmaker. Beyond the invigorating character moments, the action sequences are worth the admission cost. Resembling the Call of Duty video-game franchise, these sequences put several clunky vehicles to the test. As guts, bullets, and emotions fly, the movie’s technical precision and gravitas match that of the year’s biggest blockbusters. The tank battles, ascending in quality, deliver edge-of-your-seat moments and magnificent visual flourishes. In addition, the last third’s 300-style, few-against-many set piece delivers an exhaustive roller-coaster ride. Most importantly, Roman Vasyanov’s uncompromising cinematography fuels Ayer’s vision. Diving into the filth, his precise camera-work and muted colour palette bolster the movie’s aura. Like most Ayer efforts, the performances overshadow the screenwriting and directorial flaws. Pitt, using his Lt. Aldo Raine voice, is powerful as the all-encompassing leader. Shedding his pretty-boy persona, his charisma tares through flesh and bone.
Hurling us into the hot seat, Fury creates enough surprises, thrilling moments, and heart-breaking performances to fire on all cylinders. Carrying its strong-minded agenda, the movie delivers more gravitas and emotional heft than expected. Crafting one of 2014’s biggest surprises, Ayer’s action-direction and attention to detail overshadow his screenwriting foibles. Pushing the tension and violence into overdrive, this war-actioner ranks among the year’s brightest blockbusters.