Fury

Sure, it's awfully heroic, but in terms of the dirt, mud, and music used, the guys do a good job. Plus, I was surprised at how much Shia has matured as an actor. It's not a bad movie, but if you've seen more than ten war movies, you won't be impressed. Still, an enjoyable watch, with funny and powerful scenes (we're at war, there pretty much have to be those kinds of scenes). It all has one big but, which is not without a [SPOILER]. They actually had to put a smiling Nazi in there who just got half his unit slaughtered and he's really just: "Hey, bro, you all were so cool I’ll probably let you live. Okay? So, see ya." Seriously? A weaker 4 stars (like it was said, out of mercy). (11/11/2014)

Attempting to make a Tank Patrol into a living monument to the soldiers of World War II is a lot to promise, but it falls apart when David Ayer's genres start clashing with each other. I would believe both in the invincible crew of the Fury and in tears during drunken confessions, but once these moods meet and regularly alternate, it's over. And it's a shame because Brad Pitt and Logan Lerman can effortlessly develop any smallest supporting storyline to the edge. (13/11/2014)

A really view on war through the perspective of an armored box on tracks. Ayer filmed a unique war movie where any hopes are trodden into the mud and victory just means the chance to fight another battle. No outlook for survival, no promise of a home. All tankers have long deserved such a raw, real and pure picture. Most often it’s the air force and infantry who receive praise, tanks are all too easily forgotten. Not anymore. Pitt’s Wardaddy isn’t a variation on a Tarantino-like Alda, quite the opposite. A crushed man, missing civilization, but gave it up for the good of his crew, an able commander who has been fighting too long. The whole crew is a good crew. Bernthal’s hick animal, the hated Grady, eventually turns out to be a good man in the closing moments. The grubby Shia is surprisingly adult, quotes from the Bible with such verve that he began to believe it himself. And now the main thing - hero, greenhorn Logan Lerman, one time funny kid is becoming a man and a regular killing machine in Ayer and Wardaddy’s care. As his gains respect with his crew, he gains it with the viewer, too. The entire father-son storyline works excellently and in that sewer of a war it’s the only thing to hold on to. I supported them to the last moment, I was in the tank with them and every hit, every jolt cuts you to the quick. If you read any war books when you were young and your eyes were drawn to those green monsters like Fury, this is a movie for you. Here am I, send me! (23/11/2014)

Ayer is equally suggestive and raw in WWII as in his modern police escapades, only this time he doesn’t rely on CGI but goes nicely the old-fashioned way. This is a clearly outlined film, striking, and not pretending to be anything more than it is. It’s a solid psychological barrage with performances. There are plenty of emotions and the atmosphere and visuals are superb. Some of the dialogue passages marginally resemble Tarantino's standards, and the rest is nothing more than honest filmmaking with plenty of dirt, rotten teeth, and blown-off limbs. It's a shame about the overly grand finale, which is mandatory, but doesn't fit at all considering the film's concept. (09/02/2015)

Half an hour before the end, I was still convinced of a five-star rating, because such a realistically dirty, unkempt war film had been missing for a long time. Add to that the production values of fantastic sets, Pitt being the walking embodiment of charisma, and the lunch at the German woman and her daughter's house scene, which I consider one of the best movie scenes of last year. But then came a hardly acceptable scene, which even the Soviets at the time of masterpieces like Liberation would not have liked in terms of exaggeration and heroism. Ayer just got carried away and the whole great impression went down the drain, or into the mud of a tank belt trail, of which the film is full. (24/04/2015)