the fury movie review

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Brian De Palma's "The Fury" is a stylish entertainment, fast-paced, and acted with great energy. I'm not quite sure it makes a lot of sense, but that's the sort of criticism you only make after it's over. During the movie, too much else is happening.

It's about two teenagers with paranormal powers. Sometimes they can control them, providing an ESP force that the United States government is very interested in as a possible weapon against the Russians. But sometimes the powers go out of control, because these are kids who've been messed with by scientists until they're emotionally unstable. And when they get mad, there's trouble.

De Palma's at his best when they get mad. He's a director in love with the bizarre, the paranormal, and the special effects necessary to create them. He had a lot of fun in " Carrie ," when Sissy Spacek tore apart houses and burned down the high school. He has as much fun here. When the Fury is with them, these kids start with simple little exercises like causing nosebleeds, and work their way up to literally explosive results.

"The Fury" stars Kirk Douglas as the father of one of the paranormal kids ( Andrew Stevens ). The kid is kidnapped by a CIA-like secret government agency, and spirited away to a top-secret resort where all sorts of luxuries (like Fiona Lewis ) are supplied if Stevens will cooperate. He's taken in at first by the phony stories fed to him by the evil federal agent ( John Cassavetes ) and the institute's staff ( Charles Durning and Carrie Snodgress ), but eventually he begins to get … restless. And when he gets absent-minded, it's everybody's problem.

Douglas, who used to be a government agent himself, attempts to get his son back, and discovers he has enemies not only on his trail but also at his destination. There's help, though, in the form of a young girl ( Amy Irving ) who also has strong ESP powers. He gains her trust, and finds himself trying to save her from the government, too.

De Palma's almost nonstop action carries the film along well (and distracts us from the holes in its plot), and Kirk Douglas was a good casting choice as the avenging father. In his best roles, he seems to be barely in control of a manic energy, and this time, being chased down the L tracks, he seems just right. Cassavetes always makes a suitably hateful villain (he plays the bad guys as if they're distracted by inner thoughts of even worse things they could be doing), and Carrie Snodgress, returning to movies after several years of voluntary retirement, is complex and interesting as the government employee who falls in love with Kirk Douglas.

Big-eyed and beautiful Amy Irving, vulnerable and tough at the same time, is just fine. She was Sissy Spacek's "friend" and final victim in De Palma's "Carrie," and I guess it's only fair that this time she gets to unleash the Fury in the final scene. Is it as scary as the final moment in "Carrie"? Not quite, but it'll leave your head spinning.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

The Fury (1978)

118 minutes

Fiona Lewis as Dr. Susan Charles

Charles Durning as Dr. McKeever

Carrie Snodgress as Hester

John Cassavettes as Childress

Kirk Douglas as Peter Sandza

Andrew Stevens as Robin Sandza

Amy Irving as Gillian Bellaver

Directed by

• Brian De Palma

Screenplay by

• John Farris

Cinematography by

• Richard H. Kline
• John Williams

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Movie Review: ‘Fury’

The times critic a. o. scott reviews “fury.”.

By A.O. Scott

• Oct. 16, 2014

“We’re in the killing Nazis business. And cousin, business is a-booming.” So said Brad Pitt (in the person of Lt. Aldo Raine) in Quentin Tarantino’s “Inglourious Basterds.” Five years later, and nearly 70 years after World War II, Mr. Pitt returns to combat in “Fury,” playing the leader of an American tank crew fighting its way across Germany in the spring of 1945. His character, Sgt. Don Collier (nicknamed Wardaddy), is a wearier, less garrulous fellow than Raine, and the film’s director, David Ayer, has a more linear and literal sensibility than Mr. Tarantino, but the business of Nazi killing remains brisk.

And why shouldn’t it be? The world is a complicated place, and war, as a subject for novels and movies, often presents a tangle of moral ambiguity and a fog of confusion. But while the Allied fight against Germany may sometimes raise thorny questions about ends and means, it also retains an ethical clarity, a righteousness, that at least partly accounts for its durable appeal among commercial filmmakers and their audiences. Nazis are just about the only real-world figures who consistently merit the fates reserved, in other genres, for zombies, aliens and orcs.

The first time we see Mr. Pitt in “Fury,” he leaps from his tank, tackles a German officer and stabs him through the eye. Then he calms the dead man’s beautiful white horse and sets it free across the battlefield. Later, he will order the summary execution of an SS officer who has just surrendered, after confirming that the man was responsible for the deaths of children.

These killings are staged with an air of grim necessity, and Mr. Ayer, a hard-boiled screenwriter ( “Training Day” ) and action director (“Sabotage,” “End of Watch”) venturing into ambitious genre territory, has a way of filming violence that is both intense and matter-of-fact. Like many other post- “Saving Private Ryan” combat movies, this one emphasizes the chaotic immediacy of battle, staking its claim to authenticity on the unflinching depiction of bloodshed: Heads are vaporized by mortar rounds. Limbs are severed by bursts of automatic-rifle fire. Human flesh is charred by flames and shredded by shrapnel.

But within this gore-spattered, superficially nihilistic carapace is an old-fashioned platoon picture, a sensitive and superbly acted tale of male bonding under duress. Wardaddy — an archetypal squad leader, tough and quiet, with sad eyes that testify to the terrible things he’s seen — is in charge of four other men, and the long hours they spend together, in constant danger and the limited space of the tank, result in an atmosphere of rough and unpretentious intimacy.

The men under him are the kind of motley, semi-diverse assortment that usually anchors this genre. Gordo (Michael Peña), who is Mexican-American, and Coon-Ass (Jon Bernthal), from somewhere in the American South, disguise their loyalty to each other in profane insults and occasional bursts of bigotry. Bible (an excellent Shia LaBeouf), while he occasionally lets fly an obscenity or two, is more apt to quote Scripture and warn his comrades about the wages of sin. There is a tenderness between him and Wardaddy that is one of the film’s subtlest and most intriguing touches.

Pvt. Norman Ellison (Logan Lerman), who has yet to earn a nickname, serves as both the smooth-faced newbie — afraid of dying and appalled by the callousness of his comrades — and as the crew’s designated egghead. Transferred from the typing pool, he reads Hemingway and plays classical piano, and is clearly more sensitive than the others, who are cut from coarser cloth and have been further battered by grueling campaigns in North Africa, Italy and Normandy.

Now, with the war in its endgame, they face a vicious and desperate enemy. In their retreat toward Berlin, the Nazis have taken to conscripting children and murdering uncooperative parents. With his military collapsing on both the Eastern and Western fronts, Hitler has ordered a suicidal last stand of total destruction. The Germans still have plenty of tanks, though, many of them superior to those of the Americans, and while momentum is on the side of the Allies, victory still seems far away.

“Fury,” which takes its title from the name painted on the barrel of the tank’s big gun, is less an epic than a series of tense and focused episodes. It’s about the grind of tactics rather than the sweep of strategy, the struggle for local objectives rather than ultimate goals. The battle scenes are staged with blunt, ground-level virtuosity, and with a welcome regard for spatial and visual coherence. When the tank needs to cross an expanse of muddy ground, you feel every jolt and swerve. And there is a lot of muddy ground to cover.

There is also a brief respite, during which Mr. Ayer pauses to consider the humanity of the soldiers and the extent to which it has been tested and damaged by war. Wardaddy and Norman discover two German women (Anamaria Marinca and Alicia von Rittberg) hiding in an apartment in a newly captured town, and the encounter is both delicate and terrifying, a dysfunctional family dinner in the midst of a nightmare. It gestures toward a conflict that is bigger and deeper than the war itself — the struggle, among and within individuals, between savagery and civilization, decency and raw need.

And then it’s time to move on and get back to the business at hand.

“Fury” is rated R (Under 17 requires accompanying parent or adult guardian). Slaughter and swearing.

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Den of Geek

The Fury: Brian De Palma’s Underrated, Explosive Movie

Director Brian De Palma followed Carrie with another gory vaunt into the supernatural. Here's why The Fury deserves a revisit...

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When it comes to telekinesis and gory visual effects, the movie that generally springs to mind is David Cronenberg’s 1981 exploding head opus, Scanners . But years before that, American director Brian De Palma was liberally dousing the screen with claret in his 1976 adaptation of  Carrie – still rightly regarded as one of the best Stephen King adaptations made so far. A less widely remembered supernatural film from De Palma came two years after: De Palma’s supernatural thriller, The Fury .

The Fury was made with a more generous budget than Carrie , had a starrier cast (Kirk Douglas in the lead, Nick Cassavetes playing the villain), and it even did pretty well in financial terms. Yet The Fury had the misfortune of being caught in a kind of pincer movement between Carrie , which was a much bigger hit, and 1980’s Dressed To Kill , De Palma’s deliriously sordid and blackly comic homage to Hitchcock.

As a result, The Fury is one of the less commonly-discussed films from De Palma’s creatively fertile period between the middle of the ’70s and the middle of the ’90s – a point in his career that brought us a few misfires, for sure, but also such striking movies as Blow Out , Scarface , The Untouchables , Casualties Of War , Raising Cain , Carlito’s Way , and Mission: Impossible . The Fury   is arguably up there with some of the best of these. 

Adapted from the novel of the same name by its own author, John Farris, The Fury takes place in an alternate version of the late 1970s where a segment of the Central Intelligence Agency is attempting to create an army of supernatural warriors. The shadowy Ben Childress (Cassavetes) is the mastermind behind this operation, and he kidnaps a teenage psychic, Robin (Andrew Stevens) with the intention of moulding him into a new recruit.

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Robin’s father, Peter (Douglas) is himself a former member of the CIA, which is why he’s capable enough to survive a very public assassination attempt on a beach somewhere in the Middle East. Resolving to track down his son, Peter tracks his son to the Paragon Institute, which specializes in turning young psychics into weapons of the state.

Like Scanners , The Fury places its warring psychics in a recognizably ordinary, sometimes grubby real world: teenager Gillian (Amy Irving, who previously appeared in Carrie ) goes to a school where telekinesis is demonstrated matter-of-factly in class. Robin’s initial search for his son takes in the kinds of down-at-heel Chicago hotel rooms and apartment buildings you’d associate more closely with a conspiracy thriller of the period than a typical supernatural horror movie. 

Douglas brings all his movie star intensity to his role of a father-turned-detective, and De Palma even allows him to indulge Douglas’ tendency to strip off for his movies – such as the scene where Robin escapes from a pair of assassins by fleeing across a railway line wearing nothing but a pair of ice-white underpants.

It’s worth pausing for a moment here to talk a bit about where De Palma’s career was in the late 1970s. Murder A La Mod was his first feature in 1968, released in one solitary New York theatre and poorly reviewed at the time. While Murder A La Mod was full of the grisly murder and cinematic back-flips that De Palma would become well known for later in his career, its rapid disappearance meant that the director would become better associated with off-beat comedies thanks to Greetings (1969), The Wedding Party (1969), and Hi, Mom (1970). The success of those underground movies, which provided early roles for a young Robert De Niro, led to another comedy, the quirky Get To Know Your Rabbit . De Palma’s first film for a studio, it proved to be a bruising experience, with the filmmaker fired from the production and the movie shelved for two years. When Get To Know Your Rabbit finally sneaked into cinemas in 1972, it was a commercial failure.

It was after the stinging experience of Get To Know Your Rabbit that De Palma began to make the kinds of films for which he’d be associated for the rest of his career, beginning with the macabre psychological horror Sisters in 1973 and then exploding with the critical and financial success of Obsession , written by Paul Schrader and released in 1976 and  Carrie , released later that same year. But while the success of those films meant that De Palma’s name would forever be synonymous with a certain brand of ultra-stylish thriller, I’d argue that his capacity for comedy never left him – it just took on a new, blood-curdling hue. 

Sissy Spacek’s blood-soaked rampage at the end of Carrie is so effective because it takes on the tone of a blackly comic fireworks display. Like the build up to a great, very grim joke, De Palma makes us anticipate Carrie White’s prom humiliation for several stomach-churning minutes: Amy Irving’s fellow pupil at the prom, spotting the rope that leads to the bucket of pig’s blood at the school prom. Nancy Allen licking her lips in expectation as she prepares to send the bucket of blood pouring all over poor Carrie’s head. The girl’s response, of course, is one of pure rage, and De Palma captures every moment of it in slow-motion, split-screen and intense red filters. It’s horrific, for sure, but there’s also a suggestion of slapstick in the electrocutions and fiery deaths. It’s the friction between horror and black comedy, I’d suggest, that makes De Palma’s work in Carrie and his other great films so effective – just as it did in Hitchcock’s thrillers (the 2013 remake, by contrast, makes Carrie’s prom melt-down into a more straightforward horror sequence).

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The same fascination with the aesthetic power of comically outré violence is there in abundance in The Fury . A car chase in thick fog ends with a car flying off a jetty on fire. Robin uses his psychic powers to send a fairground ride spinning out of control, with distinctly messy results (for unexplained reasons, the ride is populated almost entirely by what appear to be princes from somewhere in the Middle East).

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It’s in these scenes that De Palma’s baroque camera movements, which are largely low-key and understated during the scenes of exposition, suddenly come to the fore. A scene where Gillian demonstrates her supernatural powers on a train set could have been shot with a conventional series of cuts. Instead, De Palma uses a clever split-screen effect, which shows the train whistling by the camera in the lower half of the shot and Gillian’s staring, ice-blue eyes at the top. It’s an instance of De Palma producing a visual set-piece out of almost nowhere. 

He pulls a similar feat near the film’s midpoint, where Gillian learns that the Paragon Institute she volunteered to join, and where Robin was also sent for a time, isn’t quite as idyllic as it first appears. While chatting to the seemingly benign Dr Cheever (Charles Durning), Gillian accidentally slips and grabs his hand to steady herself. As in Stephen King’s later The Dead Zone (adapted by David Cronenberg to memorable effect), this physical connection creates a psychic image of the future in Gillian’s mind. She sees Robin running from Dr. Cheever and falling from a window.

Again, De Palma uses a visual effect to put two pieces of action in one image: Amy Irving’s shot in front of a blue screen with the action projected behind her, thus allowing both foreground and background action to appear in focus. It’s only a brief moment, but it’s also a critical moment in the story, and De Palma’s filmmaking cleverly highlights it and underlines it twice.

Even when The Fury ’s story sags a little – and at two hours, the movie does feel a touch too long – it’s De Palma’s flourishes that constantly engage the eye. The use of overhead camera angles, split diopter shots (a special lens which allows a foreground and background element to remain in focus in the same frame) and POV all add to the film’s suspense – the latter neatly used in a moment which establishes Gillian’s psychic connection to Robin. Robin, who has been largely off-screen since the opening reel, has been driven crazy by the experiments brought on him by Dr Childress. Again, De Palma caps off this revelation with a visceral image – blood issuing from the eyes and mouth of a doctor, her suffering shot from below as her head collides with a glass table. 

The ingenuity of these scenes is such that it’s easy to imagine that De Palma chose to direct The Fury because of the way the story plays with time and space (a moment where Gillian stands in an empty room and sees the events that took place in it months earlier is a prime example). Certainly, the scenes in which Kirk Douglas gradually makes his way to the institute thanks to the help of his insider, Hester (Carrie Snodgress) seem rather flat by comparison.

It’s De Palma’s direction, combined with Amy Irving’s superb performance and John Williams’ operatic score, that make The Fury such an effective movie in its best moments. All three come together in the final half an hour, first in a superb sequence where Gillian escapes the clutches of the Paragon Institute, and shot in glorious slow-motion. Then there’s the grand finale – a dervish of Rick Baker-designed blood and fireworks that, in concert with Williams’ thundering score, creates an ending as bizarrely triumphant as it is over the top. 

With its story of gifted youngsters twisted by evil grown-ups and devastating psychic powers, The Fury could be regarded as the half-forgotten grandfather of such films as Akira and Chronicle . It certainly appeared to have inspired Cronenberg’s Scanners , particularly in a late scene involving close-ups of eyes and the transference of special powers.

In the lengthy and varied catalogue of De Palma’s films, The Fury is one that’s well worth revisiting. Although it isn’t perfect, it’s an example of how much power he can lend to a pulpy story about shadowy CIA bad guys and psychic teenagers. And in a body of work where women often have a rough time, The Fury is one of the rare De Palma films where a female lead gets to turn the tables on the bad guy. It’s a glorious moment worth savoring – just as De Palma’s camera lingers over every gory detail.

This article first appeared on Den of Geek UK .

Ryan Lambie

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Fury review – Brad Pitt answers the call of duty … in a tank

This second world war drama is a rousing, old-fashioned film, even if it doesn’t live up to the hype

Interview: David Ayer

Brad Pitt’s action movie about an American tank commander and his wearied crew in the final year of the second world war has topped the US box office, and is set to do the same here. I originally reviewed it during the London film festival – it is watchable and well-made, though I can’t share the saucer-eyed excitement with which it has been received by some, due to a certain bizarrely naive “coming-of-age” sex scene that director David Ayer seems to think is some kind of humanistically redemptive moment.

Pitt himself has given an interview stating that war is not a video game – although Fury is clearly influenced by games such as Call of Duty, as well as movies such as The Dirty Dozen, Inglourious Basterds and Saving Private Ryan. He plays a grizzled veteran of the African and European campaigns who has come to hate the Nazis: and as his tank (dubbed Fury) rumbles into Germany he encounters quite a few. Under his command is a ragtag bunch, including a terrified kid called Norman, played by the cherubic Logan Lerman; Norman’s inexperience might get everyone killed, and Pitt takes a personal interest in him. Ayer does well in creating the weird listless boredom of war – interspersed with sudden frenzies of violence and fear as the soldiers engage the enemy. In the end, Pitt’s men seem destined for their own Alamo or Little Bighorn in the German countryside. It’s rousing, old-fashioned film-making.

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Screen Rant

Fury ending explained.

David Ayer's 2014 World War II film starring Brad Pitt has a powerful yet satisfying ending that highlights the brutality and consequences of war.

• Fury's crew, led by Wardaddy, choose to fight the German battalion, ultimately sacrificing their lives for their country and each other.
• Norman, the inexperienced private, is the only crew member to survive the final battle by hiding under the tank and surrendering to a young German soldier who chooses not to kill him.
• The crew's treatment of Norman, though harsh, toughens him up and prepares him for the realities of war. Despite their flaws, the crew's complexities make Fury an underrated gem among war movies.

Fury 's ending perfectly highlights the brutal nature of World War II, giving its characters a noble final arc that perfectly summarizes their personalities. The war movie focuses on a military crew operating a tank. Don "Wardaddy" Collier, played by Brad Pitt, commands the experienced tank crew, with each member having their own specific role. The crew consists of the gunner, Boyd "Bible" Swan, the loader, Grady Travis, and the driver, Trini "Gordo" Garcia. After their assistant driver is killed, a young private named Norman Ellison is assigned to the crew, who has little experience when it comes to war.

Throughout the film, the crew engages in several battles involving their M4 Sherman tank, nicknamed Fury. Fury embarks on its mission against German soldiers as part of a platoon when the lead tank is shot by a Panzerfaust after Norman chooses not to fire at the soldier. Norman's inability to take enemy lives becomes a theme throughout the film, with the rest of the crew berating him for his incompetence. Wardaddy eventually makes Norman shoot an enemy soldier, forcing a pistol into his hand and ensuring he pulls the trigger.

The crew also faces off against a German Tiger I, a tank much bigger than theirs which they defeat through creative tactics. Fury 's tank battle's accuracy was questioned by a historian , but the fight is one of the movie's most memorable scenes. After meeting two German women, the town is attacked with the civilians dying, reinforcing the dark nature of war to Norman. The crew eventually find themselves in a final stand. With Fury broken down, the crew chooses to stay and fight, with all its members dying except Norman, who is rescued the following day by US soldiers.

Where To Watch Fury Online - Is It Streaming On Netflix, Amazon Prime Video, Or Hulu?

Fury's final battle explained, wardaddy's crew are defeated by the ss soldiers.

Fury 's climax begins with Norman alerting the rest of the crew that a German battalion of between 200 and 300 soldiers are incoming. With the tank broken down after hitting a mine, the logical solution would be to run and try and find safety. However, Wardaddy tells his crew to hold down the position as they've never run from a fight before. Despite the initial pushback, the crew eventually bond and decide to join Wardaddy in fighting the German battalion , despite knowing it will probably cost them their lives.

The men share some warm moments, waiting for the Germans to arrive before launching an ambush. There is a tense wait as the Germans approach, highlighting the movie's stellar acting, with Shia LaBeouf offering a top performance when conveying the dread of going into battle. With the tank looking completely abandoned, the battalion walks straight towards it without much fear. It is only when one soldier opens Fury's hatch that Wardaddy opens fire and instructs the crew to begin attacking. From here, an intense battle ensues, with the American soldiers working in perfect harmony to load and fire the tank.

Their plan saw initial success despite the odds being stacked against them. They successfully take out various German soldiers as the sky darkens, with only the flames from explosions illuminating the battleground. Things take a turn when the crew runs out of explosives in the tank and must exit the vehicle to restock. Despite holding off the soldiers long enough to re-enter the tank, Grady is first to meet his demise after being shot by a Panzerfaust while firing the tank's coax. This leads to more stellar acting, with LaBeouf's character distraught while Pitt's Wardaddy tries to rally his troops.

As ammunition runs low, Gordo is next to die after sacrificing himself to ensure a grenade doesn't kill the rest of the crew. Bible is sniped trying to pass grenades to Wardaddy, dying instantly. Having already sustained several gunshots, Wardaddy shares an emotional moment in the tank with Norman, apologizing for some of his actions. As the Germans throw several grenades inside the tank, Wardaddy instructs Norman to escape through the hatch at the bottom, knowing his own fate is sealed. Norman makes it through the hatch and survives the battle , but Wardaddy is killed in the process.

How Norman Ellison Survives The Battle With The German's

Norman is the only member of fury's crew that survives.

While his fellow soldiers all die at the hands of the German soldiers, Norman is the sole survivor of Fury 's final battle. After escaping the hatch, Norman is still completely outnumbered and unarmed. He knows he can't take on all the soldiers despite having found the bravery to fight alongside his crew. Instead, Norman attempts to hide, trying to cover himself in the dirt underneath the tank in the hope he isn't spotted. This attempt is unsuccessful as a young German soldier looks under the tank, noticing Norman, who holds his hands up to surrender.

Rather than killing Norman, the SS soldier simply walks away , pretending he didn't see the American. He doesn't alert any of his superiors and Norman is able to successfully wait out the German battalion. Having fallen asleep under Fury, Norman is woken to the sound of horses. Leaving his hiding spot, Norman crawls back inside the tank where he spots a deceased Wardaddy, who Norman covers with his own jacket. Hearing more soldiers approaching, Norman grabs a pistol, ready for his own last stand, but it is American soldiers who open the tank and rescue him, dubbing him a hero.

Why The SS Soldier Doesn't Kill Norman Ellison

The soldier has the perfect opportunity to kill norman, but chooses not to.

One of the most criticized scenes in Fury is the SS soldier not shooting Norman. Some described the scene as unrealistic, but given the story is for entertainment purposes, it isn't a major weakness to the film. Norman's life is completely in the soldier's hands, and the German's decision not to shoot or tell another soldier is the main reason Norman managed to survive. While the movie never reveals the SS soldier's perspective, David Ayer helps explain Fury 's ending . Offering some clarity on the scene, the Fury director explains the soldier's thought process.

"They were grabbing kids out of classrooms. It’s interesting because that German soldier is actually 14 years old. But the idea is, it’s not their war."

Given Norman was actively against hurting others at the start of the film, it seems like a full-circle moment in his story. The person responsible for his fate has a similar mindset to Norman's at the start of the film. The soldier is a child who doesn't see the need for senseless violence or any reason to execute an unarmed man. All the fighting and death isn't personal to Norman, nor the SS soldier who spots him, hence why they offer more second chances than most. It is not their war and, as a result, Norman's life is spared.

Why Wardaddy And His Crew Choose To Fight After Fury Breaks Down

The crew had enough time to escape before the german battalion arrived.

Although most of Fury's crew lost their lives at the end of the film, they did have the chance to try and avoid this. When the tank hit a mine, they had plenty of time to leave before the German battalion approached and, despite knowing they were coming, the crew decided to stay. Wardaddy undoubtedly played the biggest role in the crew's decision. His stubbornness matches the attitude generally associated with sergeants in war movies and his determination to stay and fight won over the other soldiers, who boarded the tank despite being scared.

Pitt's character did tell his crew to run for the treeline and was willing to fight alone, but Norman's decision to stay inspired the rest of the crew . Norman was the first to agree to stay with Wardaddy, and even after Bible and Grady vocalized their concerns, the whole crew joined the battle. Despite their fear and knowledge that this fight would likely cost them their lives, the crew's togetherness made them take one last stand together. They could have run but wanted to fight for their country and each other, which cost most of them their lives.

Brad Pitt Has Made 5 World War 2 Movies - And Only One Of Them Is Actually Great

Why wardaddy's crew treats norman ellison so poorly, norman is treated badly throughout the majority of fury by his allies.

Norman's youthful innocence doesn't do him any favors in Fury , with his crew constantly antagonizing him. As a leader, Wardaddy is far from sympathetic, as after forcing Norman to take his first life, Wardaddy proceeds to kick him, telling him to " do your job ." Grady also constantly gets under Norman's skin, teasing him about Emma, a German woman they met, and forcing him to drink. None of the crew treat him particularly well, but their actions all come from a soldier's perspective. Even when trying to have fun, they know they are at war and remind Norman of that fact.

Following Emma's death, Grady lets Norman take his anger out on him. He tells Norman " It's called war ", highlighting the grief and despair that comes with it. The treatment of Norman may be poor, but it is the crew's way of preparing him for what's to come. Had he not learned to fight, Norman would likely have died before the final battle , showing that their cruel treatment wasn't for nothing. Fury 's characters may not be as fleshed out as some of the best war movies of all time , but their complexities and flaws help make the movie an underrated gem.

What Happens To Norman Ellison After Fury's Ending

Norman's story ends after the crew's final battle.

After surviving the battle with the Germans and being retrieved by US soldiers, Norman's final scene sees him look back on the battlefield where he lost the rest of his squad. It is a somber ending, but Norman's survival is at least a lighter note, especially as he was the most moral main character in the movie. Norman's final scene confirms that he lives, and while the movie doesn't offer any more insight into what happens next, the events will undoubtedly have changed him. According to IMDB's summary, Fury takes place in April 1945.

Given Germany surrendered a month later and that the movie takes place in Germany, there is a high chance that Norman survived the entire war. He didn't seem to sustain major injuries during the movie's final battle, but Norman was being tended to by medics, making it unlikely he went straight back out on another mission. This suggests Norman did get a somewhat satisfying ending, but the trauma of the war and the final battle will likely stay with him. Nothing can be confirmed about Norman's story after Fury 's credits, but all signs point to him surviving WW2.

Source: IMDB

Brad Pitt stars as tank commander Don "Wardaddy" Collier in David Ayer's war movie Fury. Set during the end of World War II, the film follows the Allied forces breaking through into Nazi Germany as Don and his crew pilot their tank known as Fury into enemy lines in gruesome battles to capture critical stronghold points and help secure victory in the war.

• Sony Pictures Releasing

Summary April, 1945. As the Allies make their final push in the European Theatre, a battle-hardened army sergeant named Wardaddy (Brad Pitt) commands a Sherman tank and her five-man crew on a deadly mission behind enemy lines. Outnumbered and outgunned, and with a rookie soldier thrust into their platoon, Wardaddy and his men face overwhelming o ... Read More

Directed By : David Ayer

Written By : David Ayer

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2016, Comedy/Drama, 1h 52m

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The fury   photos.

Generations of dirty laundry are revealed at a family reunion.

Genre: Comedy, Drama

Original Language: Dutch

Director: André van Duren

Producer: Matthijs van Heijningen , Guurtje Buddenberg

Writer: André van Duren , A.F. Th. Van Der Heijden

Release Date (Streaming): Apr 5, 2019

Runtime: 1h 52m

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Hadewych Minis

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Frank Lammers

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Gijs Scholten van Aschat

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The Fury (Review, Summary & Spoilers)

By alex michaelides.

Book review and synopsis for The Fury by Alex Michaelides, a layered five-act mystery-thriller about a former movie star who invites her friends and family to a getaway on a private Greek island.

In The Fury by Alex Michaelides, Lana Farrar is a retired beloved movie star who invites her friends to come with her and her family on a getaway to a private Greek island that she was once gifted by her former husband.

The island is idyllic and serene, but as fierce Aegean winds blow through -- known as to menos , or "the fury" -- tragedy strikes. A body is found lying in a pool of blood.

With the police unable to reach the island until morning due to the winds, the seven people on the island look to each other to try to figure out who the killer might be...

(The Full Plot Summary is also available, below)

Full Plot Summary

The book opens with a narrator explaining that he's going to recount a story about a highly publicized murder that took place on a Greek island.

Lana Farrar is a famous, retired movie star who suggests that her friends, Elliot and Kate, join her and her family for a quick getaway at a tiny private Greek island near Mykonos that she owns, Aura. The island was a wedding gift from her first husband 25 years ago. They agree and meet her here, along with her husband Jason and teenage son Leo. Her longtime housekeeper Agathi joins them as well. Also, Nikos is the caretaker for the island and lives there year-round.

On the island, they eat delicious food and enjoy the beach, but the weather soon turns windy and gloomy. Jason and Kate have been having an affair, and Kate suspects Jason knows about it. Jason can't afford to have Lana find out, since he's in a financial mess after unsuccessfully managed other people's money, and he'll go to jail without Lana's money to bail him out. Their second night on the island, they have a tense dinner together on Mykonos, and three gunshots are heard. Leo is the first one on scene, followed shortly after by Agathi and Jason. Lana's dead body is found in a clearing, lying in a pool of blood.

The narrator, Elliot, then retraces the events of the first act, filling in some missing information. He explains that Lana had discovered an earring in Jason's dry cleaning in the days before the trip, and she'd found a matching earring in Kate's makeup bag. Lana had long suspected there was something going on between them. Kate originally met Jason and was dating him, but when Jason met Lana, he fell for her, and Kate stepped aside.

Elliot then suggested going to the island to confront them -- a place where they'd be trapped and forced to face up to their misdeeds. On the island, Lana sees Jason and Kate kiss. The night after the dinner on Mykonos, she ends up asking Nikos for his help, asking him to do something for her in exchange for payment. Nikos tells her that all he wants is a kiss, and Lana consents. After she leaves his place, she's shot. The police aren't able to come until morning because the winds are too strong. (The narrator notes that by then they'd already know who the killer was.)

In Act III, Elliot explains how he came to know Lana. His was a bullied and sad kid needing an escape from his life, so he first fell for her because of her movies. He ran away from home at 17 and ended up broke and desperate, doing unspeakable things to survive. Barbara West, a famous older novelist, came across him at a bar and took him home. He ends up staying with Barbara as a kind of escort. She gets her needs met, and in exchange Elliot gets shelter and exposure to her social circles. Elliot transforms himself, parroting the people she knows, and adopts the name "Elliot Chase".

One evening, he meets Lana at a party and befriends her. Their friendship grows, and he continues to fall for her, though she's already said she's not interested in romance. One night, he confesses many of his secrets to her, tells her he loves her and kisses her. Soon, he decides he wants to propose to her -- with a cheap ring in hopes of replacing it someone with something appropriate. But that night, Lana meets Jason and is all over him. That same night Barbara, tells Elliot that she met with Lana and told her the truth about his past and who he really is, and she let Lana know how money-hungry Elliot is.

Barbara soon dies, and Lana and Jason marry after a whirlwind romance. Elliot then happens to find out about Jason and Kate's affair purely by chance. He starts surveilling them and tries to find ways to expose it to Lana. He eventually comes upon the idea to plant the earring.

Elliot reveals that there was more to the plan. Lana had told him, even after she discovered Jason and Kate's affair, that she had no intention of leaving Jason. So, Elliot's real plan was to destroy Jason.

At the island, after Lana is "shot" she wakes up and tells a very alarmed and upset Agathi that it's just a hoax. The point of Elliot and Lana's plan was to cause Kate and Jason to turn on one another, destroying their relationship.

Elliot then goes to talk to Kate. He tells her that he thinks Jason meant to shoot her, and not Lana. He says Lana had been wearing Kate's shawl. He knows that Jason is in financial trouble and that Jason couldn't afford to have Lana find out about the affair, so Jason wanted Kate dead. He also tells her that Nikos apparently fell off a cliff, according to Jason, while they were searching for an intruder, and he's dead. Elliot thinks Jason intends to frame Nikos now that he can't defend himself.

Kate is horrified and goes to confront Jason, but before she goes, Elliot presses a gun into her hand -- his real plan all along was to get Kate to shoot Jason. Elliot thinks that his plan has worked, but then Nikos shows up, alive and well. Kate, Jason and Nikos all turn on Elliot, accusing him of being the murderer and they decide they need to kill him. They force a gun into his hands and they force him to point it as himself and shoot.

It's revealed that Lana actually knew about Elliot's plan to kill Jason all along, since she had found a notebook at his place detailing his scheme. Lana had then gone and made up with Kate, and the two of them had plotted the revenge scheme together, looping in everyone else (other than Jason since Lana wanted to punish him, too).

Elliot is actually okay, though since they used a blank. The point was not to kill him, just to freak him out and teach him a lesson for planning such a psychotic plan begin with. Afterwards, they all go back into the house to celebrate and tell him to leave. Elliot is humiliated and embarrassed and his feelings of being a bullied kid are reawakened.

Elliot returns to the house and in a fit of rage, he shoots Lana (for real). In the Epilogue, Elliot is now in jail for Lana's death. His former therapist Mariana comes to see him and suggests that writes down his feelings.

For more detail, see the full Chapter-by-Chapter Summary .

If this summary was useful to you, please consider supporting this site by leaving a tip ( $2 , $3 , or $5 ) or joining the Patreon !

Book Review

The Fury by Alex Michaelides came out in January, a standalone book that takes place in the same world as his previous mystery-thrillers, The Silent Patient and The Maidens . There’s brief mentions of the characters from his previous books, but definitely no need to have read either of them to get into this one.

The reviews of The Fury have been mixed, so I was actually originally planning on skipping this.

But I went through some of the reviews the other day, and I found it curious that it sounded like people were reading two completely different books. Some people thought it was a convoluted mess, while others thought it was brilliant. I eventually decided I might as well read it and find out for myself.

The In Fury , a retired movie star plans a getaway to a private Greek island she owns, inviting a few close friends to join her and her family. But soon a body is found. With only seven people on this secluded island, it’s clear the killer won’t be able to hide for long…

The Book Structure

Michaelides’s intentions with this book were ambitious. It’s structured as a classic five-act tragedy, but with a twist. Each act in the book reveals new layers to the story and sheds a different light on previous events.

Before I get into any criticism, I really want to give him credit for trying something inventive and difficult. I don’t think this was ever going to be an easy trick to pull off, and he comes somewhat close to making it happen.

This format works … at first. In Acts I and II and III, each additional act feels not quite as clever as the book wants it to be, but it does manage to add something to the story. In Act IV, however, you can feel the story starting to strain under the weight of its conceit. The book manages to hold it together, but I was starting to doubt if there was enough payoff to justify the additional complexity in the story. This was the “is the juice still worth the squeeze?” part of my reading.

By, Act V, I had my answer. The story crumbles in the last act, and in order to add another layer, it renders so much of the rest of the book as being moot and pointless. The characters’ motivations stop making very much sense. It definitely feels more convoluted than clever by the end.

Why it Didn’t Work

In the end, I don’t think the problem was the complexity itself — I didn’t have a hard time following it, and I imagine most other people wouldn’t either. I think the problem was that in order to create complexity and add increasing layers of new information to what we’d already learned, Michaelides ends up sacrificing the story itself.

In other words, the storyline itself just isn’t compelling enough to justify wading through all these layers. And in order to add the layers, Michaelides renders pointless a lot of stuff in the previous layers and the last act doesn’t make a ton of sense. Basically, the payoff of all of this feels inconsequential at best, nonsensical at worst. And the psychological characterization of these characters is completely all over the place.

In the original, Act I iteration of the story, you’re led to believe that the characters have certain motivations and there’s certain events driving their actions. With each Act and layer, these things sort of disintegrate.

For me, in a psychological thriller, when there’s a good plot twist, there’s a feeling of stuff clicking into place as truths are revealed. In this case, it’s mostly just a continual feeling of “okay, well I guess that’s a semi-reasonable explanation”, with an ending where it’s like “okay well now it stopped making sense”.

Anyway, obviously this is hard to discuss without spoilers. If you want to read the rest of my thoughts, I’ll address them in the Questions, Ending & Explanations page.

The Writing Style

Also, I should mention that the writing style in The Fury is another issue. The novel employs the lesser used second person omniscient perspective, and it’s written in a very conversational tone with frequent asides, errant commentary and a lot of meta discussion from our narrator.

At times, it works really well. There’s one chapter where, after the body is discovered, the narrator explains what would happen if this were an Agatha Christie novel. He says that in that case, an investigator would show up and break down all the facts and question each character. I loved this because it was a great way to succinctly give a rundown of the situation — quickly establishing basic facts, each character’s alibi and what we know about their motives. But other times it feels a lot more pointless.

Problematically, the second person omniscient perspective also adds some confusion to an already all-over-the place story, since it’s not clear where he’s getting his information from. How does this omniscient thing work, are we supposed to take what he’s saying at face value or view it from the lens of his character?

Also, sometimes the conversational style gets a little tiresome. I do think that listening to the audiobook helps. The way the book is written, it works well as an audiobook.

Read it or Skip it?

As I was reading this, I could tell how hard Michaelides tried to make his layered five-act book work, and I wanted very badly to enjoy this book more than I did.

But the story and these characters really weren’t compelling enough to withstand all these layers of complexity. At some point the book became complexity for complexity’s sake and the thin storyline breaks down under its weight.

Every time I read a novel from Alex Michaelides, I end up feeling like the book is imperfect in different ways but there’s hints of cleverness that are so satisfying that it really makes it worth it to me. I felt the same way about this book, and I am still glad I read it. I just wanted for the sake of the effort that clearly went into this for the story to be more enjoyable than it was.

See The Fury on Amazon.

The Fury Audiobook Review

Narrator : Alex Jennings Length : 8 hours 8 minutes

The book is written in such a conversational way that I think it’s almost better as an audiobook. I also think Alex Jennings does a fantastic job of narrating the book in a way that gives a lot shape and texture to the writing.

I would definitely recommend considering the audiobook if you’re interested in reading The Fury.

Hear a sample of The Fury audiobook on Libro.fm.

Ending & Explanations

See the Questions, Ending & Explanations for The Fury

Book Excerpt

Read the first pages of The Fury

Share this post

This is a tale of murder. Or maybe that’s not quite true. At its heart, it’s a love story, isn’t it?

Lana Farrar is a reclusive ex–movie star and one of the most famous women in the world. Every year, she invites her closest friends to escape the English weather and spend Easter on her idyllic private Greek island.

I tell you this because you may think you know this story. You probably read about it at the time ― it caused a real stir in the tabloids, if you remember. It had all the necessary ingredients for a press sensation: a celebrity; a private island cut off by the wind…and a murder.

We found ourselves trapped there overnight. Our old friendships concealed hatred and a desire for revenge. What followed was a game of cat and mouse ― a battle of wits, full of twists and turns, building to an unforgettable climax. The night ended in violence and death, as one of us was found murdered.

But who am I? My name is Elliot Chase, and I’m going to tell you a story unlike any you’ve ever heard.

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By Peter Travers

Peter Travers

Tank warfare in the final days of World War II sounds like primo escapism for action freaks. Fury, written and directed with exacting skill and aching heart by David Ayer ( End of Watch ), doesn’t let us off easy with vid-game violence. Ayer thrusts us into the furnace of the Fury, a Sherman tank commanded by Don “Wardaddy” Collier ( Brad Pitt ), until we feel as battered as the crew.

In their years with Sgt. Wardaddy, gunner Boyd Swan (an outstanding Shia LaBeouf), loader Grady Travis (Jon Bernthal) and driver Trini Garcia (Michael Peña) have tilted their moral compass to view murder as different from killing the enemy. They don’t even see the blood on their hands until the arrival of Norman Ellison (Logan Lerman), a rookie driver unprepared for combat. Norman’s horror and disgust are a cracked mirror for the crew, until Norman hardens just like his band of brothers. Ayer captures the buried feelings of men in combat with piercing immediacy. Pitt is tremendous in the role, a conscience detectable even in Wardaddy’s blinkered gaze. But it’s Lerman who anchors the film with a shattering, unforgettable portrayal of corrupted innocence. Fury means to grab us hard from the first scene and never let go. Mission accomplished.

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Everything we learned about Furiosa: A Mad Max Saga from new CinemaCon sneak peek

George Miller wowed audiences with five minutes of footage from his “Mad Max: Fury Road” prequel.

Furiosa is back — and the road ahead of her looks tough.

At Warner Bros.’ presentation at CinemaCon in Las Vegas, director George Miller and stars   Anya Taylor-Joy and Chris Hemsworth introduced five minutes of new footage from Furiosa: A Mad Max Saga , the upcoming prequel to Mad Max: Fury Road .

The extended sneak peek began with a single car cutting across the wasteland as a narrator threatens, “If you find him, he's mine." Enemies kidnap a young Furiosa from her mother, who chases after her while holding a rifle in an eerily similar fashion to Charlize Theron in Fury Road . A voice echoes, “Protect the Green Place” — the mythic oasis that plays a key role in Fury Road , which we actually see glimpses of in this footage.

Courtesy of Warner Bros. Pictures

From there, the villain Dementus (Hemsworth) demands to find the Green Place. Furiosa’s mother bursts onto the scene to save her, but the titular heroine must watch helplessly as Dementus essentially crucifies her mom. "Promise me you'll find your way home,” Furiosa’s mother says desperately. “Plant this seed. Protect the Green Place."

We then see Furiosa locked up in a similar manner to Max (Tom Hardy) in the opening of Fury Road as Immortan Joe (Lachy Hulme) negotiates with Dementus to take her for himself to prevent a war. Several scenes of Furiosa training alongside War Boys as she grows up follow.

Later, Furiosa meets Praetorian Jack (Tom Burke), with whom she appears to have a romantic connection. Jack seeks to help Furiosa in her quest to find the Green Place and return home. Toward the end of the footage, Furiosa cuts off her hair, saying, "My mother, my childhood — I want them back.”

Warner Bros. Pictures/YouTube

At the end of the footage, a character (presumably Dementus) says, “This is the history of the wasteland whispered to me by Furiosa herself. The question is, do you have it in you to make it epic?" Someone refers to the titular heroine as “the darkest of angels,” and the footage concludes.

Before premiering the footage, Miller explained to the audience that Furiosa initially materialized as he was building the world and lore of Fury Road . “In order to tell the story in Fury Road , we had to know everything that happened,” he said. “[That] story was told in three days, this story is told in 10-13 years.

“We wrote the backstories for everybody for Furiosa for all those years, and then also for Mad Max in the years before,” he continued. “When Fury Road had enough traction, we thought, ‘Oh we gotta do Furiosa . And here we are — just finished last week.”

Warner Bros./ Youtube

Taylor-Joy also expressed her enthusiasm for the project. “The way that Charlize portrayed her — I never imagined I would have this opportunity,” she said. “It's unlike any experience you will ever have... George is fully running and completely in control of three full units. Absolutely everything you see on screen has been painted by George.

“Anya needed to be someone who you could spend all those months in the wasteland with — someone who is really resolute, very disciplined, and very, very smart,” Miller said of the actress. “If the apocalypse came, she is one of the people I'd like to hang out with.”

Hemsworth also briefly broke down his character. “A twisted cruel character on one hand, but in order for him to lead this horde of bikers across the wasteland and inspire them… there needed to be an element of charisma,” he said. “We wanted to interweave elements of charm and wit and humor, but there had to be a spontaneity to it… the way he moved, the way, he spoke was about manipulation, but also grabbing groups of people and saying, ‘I know what your problems are and have the answers to them.’”

“We'd had the script for a long time and I couldn't really think of an actor to do it,” Miller said of Dementus. “It is an unusual character... I knew of Chris, and we somehow met and we talked, and in that conversation, which was very far-reaching and multi-leveled, I thought ‘God, this guy's got basically a lot of dimensions to him.’”

Furiosa: A Mad Max Saga hits theaters May 24.

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Related content:

• Witness her! Furiosa trailer reveals Anya Taylor-Joy in Mad Max prequel
• Mad Max prequel Furiosa promises 'great Biker Horde' and a young Immortan Joe
• George Miller breaks down all the head-shaving, lore-filled, epic moments in new Furiosa trailer

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Dev Patel is an actor so outrageously charming, his movie stardom so clearly pre-ordained, it's surprising to note how few of his films are particularly memorable.

Largely defined by Oscar-calibrated biopics and twee British pabulum, Patel's career reflects the paucity of roles for South Asian actors in Hollywood, as well as the gutting of compelling mid-budget fare that once forged A-List names.

Recent collaborations with David Lowery ( The Green Knight ) and Wes Anderson ( The Wonderful Story of Henry Sugar ) have given the actor the chance to stretch beyond the bright-eyed earnestness and sexless innocence he'd been typecast as — but it's Patel's directorial debut, Monkey Man, that unleashes him onto a full-throated star vehicle.

Splitting the difference between revenge saga and angsty origin story, the film centres on a taciturn vigilante named "Kid" as he seeks justice for his mother's death.

Like Batman, Wolverine and countless other animal-themed heroes, Kid is a bruised loner consumed by righteous fury. His primate persona (in character, rather than literal form) hails from the Hindu deity Hanuman, whose legend is narrated to Kid by his mother in the film's prologue.

Evoking both Icarus and Prometheus, Hanuman's story begins with the young demigod attempting to seize the sun, mistaking it for a ripe mango, and facing immediate punishment from the Gods.

It's a fable that adds mythic weight to Kid's own blood-soaked tale. While moonlighting as the heel of an underground fighting tournament in a fictional Indian city, he insinuates his way into the bottom rung of a high-end brothel ruthlessly managed by Queenie Kapoor (Ashwini Kalsekar). 

His rise through the ranks — with the assistance of comedy-relief gangster Alphonso (Pitobash) — inches him closer to his primary target of vengeance, Baba Shakti (Makarand Deshpande): a corrupt spiritual leader with deep pockets and vast political influence.

The ensuing carnage exhibits an electrifying, go-for-broke attitude from Patel as action star and first-time director, even if he never quite exceeds his influences.

While Kid is far too Hollywood-handsome and well-groomed to physically resemble a scrappy street rat, each messy brawl sees Patel mutate into another creature entirely. Neither an unstoppable machine nor a sophisticated martial-arts master, Kid is a vicious underdog who's unafraid to rip into flesh with his bare teeth.

The action is often captured in longer handheld shots with little space to hide, letting Patel flex his fighting prowess. Even without an awareness of the film's gruelling shoot (which saw the actor-director sustain numerous injuries), it's one of the more committed action movie turns you'll see this year.

John Wick is playfully name-dropped early on, an acknowledgement of their broad similarities: an unlikely hero out for revenge in a tailored suit; a fondness for neon-drenched clubs; roots in Asian action cinema.

But there's a scruffiness to Monkey Man that feels just as inspired by the hyper-modern work of Korean director Jung Byung-gil (The Villainess) — particularly in a chaotic midpoint set piece that dazzlingly slips in and out of Kid's POV and splices in noisy phone footage.

Occasionally, the loving homages miss the point. Key ideas and visual motifs are lifted from Park Chan-wook's twisty 2003 thriller Oldboy, which imbued ultraviolence with gnawing dread as its hero's revenge capitulated to self-annihilation.

Monkey Man is comparatively disinterested in dipping its toes into the murkiness of vigilante justice.

The film is also marred by increasingly obtrusive flashbacks that sketch out Kid's generic tragic backstory. His motivating trauma is laboured to an almost dulled effect, though it also manifests in Kid's Oedipal obsession with protecting Sita (Sobhita Dhulipala), one of the escorts he works alongside.

A slowed-down remix of The Police's Roxanne all but spells out Kid's gendered saviour complex in one woozy nightclub scene – only for Patel to quickly abandon this idea.

This blunt force approach functions better in Monkey Man's rebuke of Hindu nationalism. Its villains extend to religious supremacists, dirty politicians and crooked cops, all implicated in the film's depiction of sectarian violence (which incorporates real-world footage).

It all reflects a palpable, searing fury against the religion's modern-day weaponisation under India's major political parties; just as American action films tore down Trump-coded villains from 2016 onwards, Patel aims his sights on India's current Prime Minister, Narendra Modi.

Noticeably absent from the film are any explicit mentions of India's Muslim population, who are most at risk from the ongoing expansion of Hindu nationalism. As much as Patel and Kid embrace Hindu mythology in a stirring act of reclamation, there's a hollowness in how the film ultimately omits the real-life victims.

Nevertheless, there's no denying the sheer spectacle of Patel promoting himself to action movie stardom – even if some punches are pulled.

Monkey Man is in cinemas now.

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10 Movies Featuring Monster Trucks

W e all have our favorite parts of watching a movie, and some of us have even more enthusiasm when we see that a great film also includes monster trucks. Monster trucks have been around since 1975 when BigFoot rolled out on some massive 66-inch off-road tires. Since then, Bigfoot has maintained a high profile in Hollywood as the "go-to" monster truck for movies. In the newer movies featuring monster trucks, we don't see quite as much Bigfoot but meet several other famous trucks with just as many tricks and bad-guy scariness or vengeance, whichever you prefer.

Monster truck movies are almost always goofy, with slapstick humor and tacky storylines from a time long ago. However, some newer movies with monster trucks are hits and either make fun of the type of person who would drive a vehicle of such stature or emphasize how fantastic it is to drive and own a monster truck.

This is an age where even children are obsessed with monster trucks, as seen in shows like Blaze and the Monster Machines, Monster Jam Adventures, Gigglebellies, and so forth. We can all agree that monster trucks will never go out of style for any age group. The shows and live events are action-packed and filled with fun. The appearance of a monster truck in a movie geared towards adults is always a hit, and it's always a goofy, tough-guy redneck that comes spilling out from behind the wheel. As movie enthusiasts, we all like to take the fun up a notch whenever possible. Seeing Woody Harrelson behind the wheel of a monster truck is the type of awesomeness we all need in our lives.

Monster Trucks (2016)

This cute movie, Monster Trucks , is about a monster (actually a young alien), Creech, who has lost his family. After narrowly escaping from an oil drilling accident, Creech hides in a truck that a boy, Tripp, is building primarily from scratch. Creech guzzles oil just like a usual monster truck, except he is a literal alien/monster and requires tons of oil and gas to survive. Together they battle bullies and have a great adventure . This is an excellent family movie, and it is somewhat predictable. Unfortunately, it is the only real monster truck movie for kids outside of cartoons. The truck that the monster takes over is a lovely antique 1950s Dodge, and almost all vehicles in the film are Chrysler made.

Related: The Best Trucker Movies, Ranked

Monster Man (2003)

Monster Man is a 2000s monster truck movie that missed the mark, but the truck is still pretty neat and makes the movie worthwhile. The truck is owned by Frank Schettini, who loaned the truck for the role in the film. His monster truck, Big Dummy 4, has a Ford body and unique suspension and driver's console comparable to Motocross. Expect a lot of gore and cheeky horror shock-value scenes in this one. Two kids driving to a wedding cause problems with some rednecks in a small town and pick up a hitchhiker. The next thing they know, they are being terrorized by a monstrous-looking man driving a monster truck and out for vengeance.

Ace Ventura: When Nature Calls (1995)

This is one of the most incredible monster trucks in a late '90s movie. It screams "safari redneck" and doesn't disappoint. Ace Ventura: When Nature Call s is a hilarious and goofy movie about Ace Ventura searching for the Great White Bat in Africa and getting into loads of mischief along the way with the local tribe's people and their princess. The monster truck Ace jumps in to chase down the kidnapper of the Great White Bat is a real monster truck named Push-N-Stomp and is a 1986 Chevrolet S-10 owned by Greg Schmit.

Dodgeball: A True Underdog Story (2004)

Dodgeball: A True Underdog Story with Vince Vaughn and Ben Stiller is hilarious, to say the least. This goofy, side-splitting comedy is one big contest between Stiller's team and Vaughn's team. Vaughn's team needs money, so they hold a car wash, and one of the poor kids gets harassed by a gross man playing with his own belly button and driving a monster truck. Clearly, the kid is a lot more afraid of the gross guy than he is of the monster truck but gets stuck washing it repeatedly. The truck is a 1988 GMC Sierra with a vanity plate that reads, "BoyHowdy."

Zombieland: Double Tap (2019)

The monster truck in Zombieland: Double Tap belongs to a shady character, Albuquerque, that is supposedly Nevada's past. Pretty Nevada happens to be at a Graceland museum when Tallahassee and Columbus arrive. They are shocked to find her, but it quickly becomes apparent that Tallahassee and Nevada are meant for each other.

After Albuquerque shows up in his monster truck and realizes he's been one-upped by Tallahassee, it angers Albuquerque and Flagstaff, who drive over Tallahassee's truck, "The Beast," and then are attacked by T-800s, which are a specifically nasty version of zombies. Since they are now zombies, Tallahassee and Columbus put them out of their misery. The truck, Big Fat Death, is a Ford Excursion. Driver Kevin King owns this monster truck, and its actual name is Insane Asylum or Fluffy.

Mad Max: Fury Road (2015)

Mad Max: Fury Road is filled with some of the most incredible vehicles ever to make it to the big screen, and these aren't just your everyday vehicles. They are excellent vehicles that have been sprinkled with Mad Max magic and have become desert-racing monsters of doom. There are a lot of shiny chrome, massive tires, and completely insane weapons that go along with these one-of-a-kind vehicles. The very best monster truck in Mad Max: Fury Road is the 1940 Dodge Fargo tray top pick-up on a monster truck chassis. Its movie name is BigFoot, like the first monster truck. It is really something to see and would be amazing to drive, though it's probably not street-legal.

Rolling Vengeance (1987)

Rolling Vengeance is a decent Canadian '80s exploitation movie with all the typical '80s violence , shady characters, alcoholism, and strippers that you could ever want. It's campy and stupid in some parts and others, not very kind to women. However, it is a tear-jerker and might make you angry if you are sensitive to this sort of thing. The ending is decent, but the film could have done without the horrific scene of the main character's mother and siblings and the later rape scene with his girlfriend. The monster truck in this film is definitely an oddball since it doesn't have the usual monster truck shell or tires, but needless to say, it's a BEAST at a staggering eight tons! It's called Rolling Vengeance for a reason! It's indestructible!

Related: Thirteen Mad Max: Fury Road Cars That Survived Filming Go Up for Auction

Road House (1989)

This is another example of a bad guy's monster truck doing typical bad-guy stuff. Want to guess what truck this is? By now, you should know that this truck is a version of Bigfoot; in fact, it is Bigfoot 7. Bigfoot 7 is a Ford monster truck built in 1988 and was the final leaf spring-style truck in the Bigfoot collection. This truck was created specifically for its use in Road House and came out in 1989.

The famous truck appears in a scene in Roadhouse and shows Bigfoot 7 driving through the front building of a dealership and taking out four station wagons simultaneously. Bigfoot had 66-inch tires but was later fitted with ridiculous-looking ten-foot tires and parked in front of a Florida business called Fun Spot. It continues to sit in less-than-perfect condition and is no longer owned by the originator of Bigfoot, Bob Chandler.

Police Academy II: Their First Assignment (1985)

Once again, we see the first and most famous monster truck, Bigfoot, being a massive star in yet a different movie. This time it was a slightly earlier version, a 1983 custom-made Bigfoot 3. The original truck was a 1982 Ford F-250. At the end of the hilariously goofy Police Academy II: Their First Assignment , we see Corporal Kathleen Kirkland and Eugene Tackleberry ride off in the monster truck with a "Just Married" sign on the back. The academy attends their wedding, and as usual, everyone has a ridiculous, giggle-worthy time.

Twister's Revenge (1988)

Twister's Revenge is a wild movie about three dim-witted criminals who try to steal the motherboard from a monster truck named Mr. Twister. Mr. Twister isn't your typical monster truck because it talks and has a mind of its own and proves it by making these idiotic criminals run all over the place on their failed mission. Dave Staszak is the genius behind this monster truck build, and Twister's Revenge included his very first Mr. Twister build. He went on to make three Mr. Twister Ford monster trucks. When Twister 3 was sold, it gave birth to the monster truck named Aftershock, which many are familiar with in the world of monster trucks.

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Furiosa: A Mad Max Saga

The origin story of renegade warrior Furiosa before her encounter and teamup with Mad Max. The origin story of renegade warrior Furiosa before her encounter and teamup with Mad Max. The origin story of renegade warrior Furiosa before her encounter and teamup with Mad Max.

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• Trivia Scheduled to be filmed in New South Wales in Australia. All Mad Max movies have been filmed in Australia, with the exception of Fury Road, when record rain falls transformed the normally arid desert areas into lush green growth areas.

Monologue : 45 years after the collapse, a young Furiosa is taken from her family. She will devote the rest of her life to finding her way home. This is her odyssey.

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Fury says Usyk won’t overcome size difference in the fight to crown the undisputed heavyweight champ

British professional boxer Tyson Fury gestures during a news conference at the The Mazuma Mobile Stadium, Morecambe, Wednesday, April 10, 2024. Tyson Fury says size will count for everything in his fight with Oleksandr Usyk to crown the first undisputed heavyweight champion since 2000. (Owen Humphreys/PA via AP)

British professional boxer Tyson Fury smiles during a news conference at the The Mazuma Mobile Stadium, Morecambe, Wednesday, April 10, 2024. Tyson Fury says size will count for everything in his fight with Oleksandr Usyk to crown the first undisputed heavyweight champion since 2000. (Owen Humphreys/PA via AP)

British professional boxer Tyson Fury, left, and trainer SugarHill Steward gesture during a news conference at the The Mazuma Mobile Stadium, Morecambe, England, Wednesday, April 10, 2024. Tyson Fury says size will count for everything in his fight with Oleksandr Usyk to crown the first undisputed heavyweight champion since 2000. (Owen Humphreys/PA via AP)

British professional boxer Tyson Fury gestures during a news conference at the The Mazuma Mobile Stadium, Morecambe, England, Wednesday, April 10, 2024. Tyson Fury says size will count for everything in his fight with Oleksandr Usyk to crown the first undisputed heavyweight champion since 2000. (Owen Humphreys/PA via AP)

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MORECAMBE, England (AP) — For Tyson Fury, size will count for everything in his fight with Oleksandr Usyk to crown the first undisputed heavyweight champion since 2000.

Usyk, a former cruiserweight, might be giving away around 50 pounds (22.7 kilograms) to Fury, who — at 6-foot-9 (2.09 meters) — is 6 inches (15cm) taller and has a bigger reach of 7 inches (nearly 18cm).

Speaking at a news conference on Wednesday, Fury complimented Usyk’s boxing skills but said the size difference between the two unbeaten fighters would be too big for the Ukrainian to overcome in the May 18 bout in Saudi Arabia.

“We have weight divisions for a reason,” Fury said. “I’ve studied every cruiserweight there has ever lived and when the cruiserweights step up to fight the big boys, usually they are found wanting.

“You can beat the average big ones but you can’t beat the elite big ones. Size is what really matters.”

Fury’s trainer, SugarHill Steward, supported his fighter’s argument.

“He is the bigger man … When you have a smaller man with the same skills, the big man is going to win all day,” Steward said.

The fight was initially scheduled to take place on Feb. 17 but was postponed two weeks before the bout after Fury sustained a cut above his right eye during a sparring session.

Fury, the WBC champion, said the rearrangement has allowed to get him in great shape for the fight against Usyk, the WBA, WBO and IBF belt-holder.

“At first I was a little depressed, for the first day or so, but afterward, like all things in life, I realized God’s timing is impeccable, perfect,” said Fury, who was speaking in the northern English town of Morecambe, near where he lives.

“It’s not late, it’s not early, it’s bang on time. It wasn’t my time to fight then, but it is going to be my time on May 18.”

Fury said it is “my time, my destiny, my era and my generation.”

AP sports: https://apnews.com/sports