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Fury Director David Ayer delivered an unflinching look at life in the LAPD in 2012 with End of Watch. Now, in 2014 he is tackling the raw realitie
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s of life in the dog days of World War II with Fury, in theaters Oct. 17.
Like End of Watch, Fury is a relentlessly intense and gripping story fueled by the determination of its heroes. Brad Pitt stars as Don Wardaddy Collier, the leader of a tank affectionately dubbed Fury. Fury is manned by Boyd Bible Swan (Shia LaBeouf), Trini Gordo Garcia (Michael Pena), Grady Coon-Ass Travis (Jon Berenthal) and newcomer Norman Ellison (Logan Lerman), a typist who gets unexpectedly called up to the front.
Norman is bewildered and terrified while the rest of the tank crew have been hardened by years of
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living in the struggle. Though the story begins in 1945 near the end of the war, their work i
asics mens sneakers s still not a pretty, safe or simple business. Don explains it to Norman simply enough. I started this war killing Germans in Africa. Then Spain and France. Now I’m killing Germans
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in Germany. It will end. Soon. But before it does, a lot more people gotta die.” And so, Fury sets out to show us why war is hell.
There aren’t any rose-colored glasses here, not about any of it. Berenthal’s Grady is downright menacing much of the time. A particularly taut scene that finds him squaring off against Pitt is nearly as agonizing to watch unfold as the procession of a resolute battalion of SS soldiers chanting a marching song is chilling. This isn’t a group of Captain America t onitsuka tiger 85 ypes, it’s a group of real, flawed men placed in extraordinary circumstances and forced to adapt to survive. Pitt possesses Don with a manic quality that is sometimes reminiscent of his other notable Nazi-killer, Aldo the Apache, but wi
tiger shoes mexico 66 th much darker shades and the kind of moral code that would befit a classic noir lead. Shia LaBeouf gives the kind of deep, resonating performance he’s always had in him, but doesn’t always bring out. It feels as if he’s found his passion and focus again, turning in one of the best performances of his career. Michael Pena once again proves to be at his best under Ayer. His Gordo is one of the most complex characters on the screen, flitting between even-keeled chum and an unsettling quiet range seamlessly. It is perhaps young Logan Lerman who impresses the most however, his emotive performance in The Perks of Being a Wallflower is handily trumped by the work he does here, and that is saying something.
It’s hardly fair to ask more of the film, but if there is a complaint to be made here, it’s this: There are moments when it doesn’t feel as if the plot is as fully realized as it could be. The film is so well made and acted that it’s scarcely noticeable amidst all the atmosphere and tension. After the house lights come up, however, looking back it feels as if the story is missing something, what exactly is ineffable, but it’s the one thing that keeps Fury from being a near perfect film. As it is, it’s very, very good, and arguably, the most intense movie of the year.