David Ayer’s 2014 film Sabotage was my least favorite film I saw that year. Grotesquely violent, with an absurd plot and horrendously unlikable characters, not only was it my least favorite film of 2014, it is to this day one of my least favorite films of all time.
Fortunately, Ayer rebounded in 2014 with Fury, a vivid World War II epic starring Brad Pitt. In the film, Pitt plays a tank commander known to his men as Wardaddy. His crew includes driver Gordo (Michael Pena), mechanic Coon-Ass (Jon Bernthal), and gunner Bible (Shia LaBeouf). Yes, Shia LaBeouf is in this movie, but it’s easily one of his best performances, and his presence doesn’t hurt the movie at all.
Fury takes place near the end of the war. Wardaddy and his crew, and the rest of the Allied soldiers, desperately want the war to end so they can go home, and they don’t understand why they keep encountering such fanatical resistance the further they push into Germany. There’s an air of desperation that hangs over the film: the soldiers are tired of fighting and want more than anything to go home, but they can’t.
Wardaddy and his crew have recently lost their backup gunner, and his replacement is green as grass. Logan Lerman plays a young soldier named Norman, who was trained as a typist and now finds himself thrust into a situation beyond his imagining. Wardaddy and his crew are hard on him to say the least, and a scene where Wardaddy forces Norman to kill a captured German soldier is one of many scenes in the film that are difficult to watch.
Fury is a brutal film, and some of the images it presents are hard to shake off: a soldier burning to death shooting himself in the head, a corpse pummeled so deeply into the mud by tank treads that it’s hardly recognizable as human.
Wardaddy and his crew seem at times like cruel men, but are they really? Or are they willing to do whatever it takes to survive? They’ve been together a long time, and Wardaddy has promised his men that they’ll get through this, and he’ll do whatever it takes to keep them alive. If that includes forcing Norman to kill a captured soldier in order to demonstrate the importance of survival, then so be it.
The battle scenes in the film are vivid and intense. The tank battles are unlike other battle scenes I’ve seen in war films. The tanks use tracer rounds so they can more easily see where they’re shooting, and the tracers almost look like laser beams. I can’t think of another war movie that uses tracer rounds during the battle scenes like this one does, and the effect it produces is very unique.
One issue people seem to have had with this movie is that the characters aren’t very interesting. There is little background given to Wardaddy and his crew, and the characters seem like archetypes. I suppose this is true, but it doesn’t bother me. The film is about who these men are now, not who they used to be.
For me, the biggest problem with the movie isn’t the characterization, it’s what I am going to refer to as the Fraulein scene. About halfway through the movie, Wardaddy and his crew come across a couple of young German women in a house. What results is a long, puzzling scene with no apparent purpose. Don’t worry, the tank crew doesn’t abuse the women, but aside from Norman and Wardaddy, they’re not very nice to them either.
I just can’t figure out why this scene is in the movie. The last time I watched it, I skipped the scene entirely and didn’t feel like I had missed anything. The whole scene lasts nearly twenty solid minutes, it just goes on and on and on, it kills the film’s pacing and adds nothing to the story. It ends up feeling self-indulgent on the director’s part, like Ayer thought he was making some grand point about human nature or something, but the whole scene is so overlong and frankly boring that the viewer can’t wait for it to be over.
I still like this movie a lot, despite its flaws. The final battle is heart-pounding. Wardaddy and the crew end up hitting a land mine which disables their tank, and they decide to stay and fight when they realize a German SS battalion is approaching. Ayer is a good action director, and the final battle is well-directed, as are the rest of the movie’s battle scenes. Ayer has a good sense of spatial awareness, leaving the viewer able to follow what is going on during noisy and complex action sequences.
Fury is a movie full of misery and suffering, but unlike Ayer’s Sabotage, the misery and suffering feel like they serve a purpose. Fury is not a perfect film and may not be remembered as a classic on the same level as, say, Saving Private Ryan, but it is very good and well worth seeing for fans of war films.
London Has Fallen
London Has Fallen is the sequel to Olympus Has Fallen, and the title pretty much says it all. Terrorists attack London while world leaders are gathered there for the British Prime Minister’s funeral, and much mayhem ensues.
It’s been a rough year for the Brits, and I’m not just talking about the whole Brexit thing, or the English soccer team’s recent defeat by Podunk Iceland. It’s been a rough year cinematically for the Brits as well, since London has been thoroughly trashed in two Hollywood movies, this one and Independence Day: Resurgence. Many London landmarks are blown to smithereens, and the overall body count is high.
As with many sequels, this one didn’t need to be made, but it’s reasonably entertaining and contains some well-executed action. Gerard Butler is never going to win any Academy Awards for his acting, but he’s believable as an unstoppable terrorist-killing badass. Although he does deserve some kind of award for managing to say the line “Go back to F*ckheadistan or wherever you came from” with a straight face.
I am still of the opinion that Aaron Eckhart is a perfect choice for a movie president, and he would probably make a better real president than the current frontrunners. Hell, maybe I’ll vote for him as a write-in candidate. London Has Fallen is a fun but forgettable action flick, and it’s hard to see any more movies for these characters in the future. That doesn’t mean Hollywood won’t try, but still.