Fury

Look through this army tank windshield to experience the story of hope, despair and courage of five American soldiers fighting Nazis in Germany during World War II. David Ayer's Fury may not be the most handsome war vehicles ever built, but it sure is more than enough sturdy to pass the grading test.

The screenplay manages to pin audiences on their seats with bomb blasts and tank attacks alone, for the most parts. Although the logline is pretty firm, we can't say the same about the sequences. Warfare happens, tailed by a conversation before another segment of bloodshed makes its appearance. As a result of the entire feature being a continuous chain of the previous statement, the pacing is slow, predictable and refuses to move forward to any meaningful closure. You don't get to see many ups and downs and after a certain period of time, you do not know where the story is heading to either.

There is a difference between an intense movie and one that is pretentiously forced to be so. The aim could never be attained by just throwing in dead bodies and gruesome deaths haphazardly even if the panorama needs all that. The blood drip-down on a killed German at the bush would have benefited from deeper work over, for example. However, at places, it does get to you. With corpses of kids hanging along the streets and grim ripper hawking with no notice, you realize World War II was nothing but a horrific tragedy! The interval string in a stranger's house feels bolted on despite being a lighter ambiance to the plot after a non-stop series of dismal and sunless events. It is dazing to know that sexual interactions occurred randomly during war times because of missing men in homes. The final turf episode is seizing, with the outnumbered main characters preparing to nail down a herd of enemies being truly hard-hitting!

Brad Pitt as War Daddy is the light amidst this dark motion picture. His posture, dialogue delivery and getup confirms the authority he possesses. Logan Lerman as Norman is a lovable character. The innocent typewriter inaugurates us into this harsh world through his eyes. The chemistry between these two leads is something of a sight. There is nothing much to be said about the rest of the characters, and this is one of the major problems.

Roman Vasyanov literally had a tankful of space to can the film. Rarely was he given wider scopes such as plain fields to perform. Regardless, he scored in both. Steven Price's minimalistic approach to music aided in erecting the necessary tension. It is tedious to stitch together diminutive shots of machine bullets shooting across and around, but Dody Dorn has done exactly that neatly!