The Fury

Great.

high quality, well done

Brian DePalma's "The Fury" is one of his earlier efforts that effectively blends various genres. The movie combines elements of Sci-Fi, Horror, and Suspense in a very unique way. The editing and the score is first rate. John Williams, composer of the classics "Jaws" and "Star Wars", creates a moody and melodic score that matches well with the action on screen. In all, a well made B movie with a great cast featuring Kirk Douglas, Amy Irving and the late John Casavetes.

The Fury and Carrie and Blow Out...all those fabulous Brian DePalma movies from the seventies, they really still hold up today. Maybe it's nostalgia on my part, but I still love to watch them. The Fury seems complex at first, but it's really not. I still don't know why there are Arabs at the beginning shooting and blowing things up - they have nothing to do with the rest of the story as far as I can tell - but it doesn't matter. It's about a father trying to save his son from the bad guys. It's exciting, tragic and VERY cool. The carnival sequence with Andrew Stevens and EVERY moment that Amy Irving is onscreen are the best parts.

Seen by many as, at best, a triumph of style over substance, The Fury holds up amazingly well some 23 years after its initial release. If anything, it seems better. Ahead of its time, The Fury follows what we would now call the classic "X-Files" formula: a government-conspiracy thriller grafted onto a supernatural Grande Guignol melodrama. Peter Sanza (Kirk Douglas) used to work for a super-secret government agency that cultivates talent for psychic warfare. Unluckily for him, his teen-aged son Robin (Andrew Stevens) is one of the most gifted telekinetics that has ever come their way. Co-worker and uber-villian Frank Childress (the late John Cassavettes) coldly decides to kill the father and take the son off to Psychic Boot Camp to become a warrior. Peter escapes and spends the rest of the film trying to re-acquire his son...by any means necessary. The screenplay is not as dumb as most critics thought when The Fury was first released. There is an uneasy Freudian sub-text about father/son rivalry at the onset of puberty, and while no one would accuse The Fury of anything like profundity, the allegory about the difficulty of adolescence and coming to grips with newfound powers and responsibilities is reasonably well developed. Add to that Brian DePalma's always-cool direction, and for ten bucks, you can't beat it. Especially if you're an X-Files fan.

First off, I believe that filmmakers can never be charged with plagiarism because movies are highly influenced by everything in our lives including the movies we see. So when I hear someone say that DePalma has stolen this shot off Hitchcock or that scene from a Hitchcock story, I always say that it isnt stealing....more like paying homage to a great master. As with the work of Tarantino...cinefiles can study and investigate every second of the film almost to where it becomes second nature to try and figure out what has influenced this scene and what film has influenced that scene. Personally "The Fury" is one of my favourite films by director Brian Depalma. His classic Hitchcockian touches are in every scene of the movie, and usual fine cast of great characters. Visually, the film is absolutely stunning...many sequences in the film are so beautifully choreographed it is almost balletic at times. And it can be very violent and bloody at times...definatly one of the most disturbing endings to a film that I have seen. But, definalty worth checking out!

Been a long time since I saw this. The settings seem a bit hokey now since the advent of computer graphics, but it still holds the same suspense for me and brings back memories of simpler times. I actually remember back when they were trying to see if ESP was real, using cards that people would try to "see", etc.

Unmatched in every way. Timeless in it's themes and it's horror. A great foreshadowing to X Files stories to come. But obviously the governmental role was different . Or,,, maybe not.

Amy Irving's follow-up to Carrie sees her own telekinesis grow with startling results. Not a remake of Carrie but a compelling story with Kirk Douglas searching for his telekinetic son with the assistance of Amy. Surprisingly involving with some terrific practical effects.

100%

A classic with Kirk Douglas great cast good plot it has aged well

This review may contain spoilers. In the wake of the fantastic "Carrie", The Fury enjoys only the misery of comparison. This is unfortunate because it is a great example of DePalma letting loose as a film-maker, daring to go over the top when necessary in order to shock and excite. In a way, The Fury does feel like two separate films. Kirk Douglas' story of trying to find his missing son plays like a police thriller. Amy Irving's narrative strand, as a young girl coming to terms with telekinetic abilities (hence the Carrie comparisons), remains quite separate from Douglas' adventures until quite late in the film. De Palma elevates much of this quite over the top and gruesome story. He is often accused of being a stylist for the sake of it. I can see why this accusation is aimed at him, based on certain films (the tracking shot in the opening of The Bonfire of The Vanities was so awkward that it felt like another director making fun of a DePalma film). But with The Fury, DePalma uses the camera and the music, taking the ridiculousness of the genre to new, often operatic heights. One scene in particular is astounding. Amy Irving's hand is grabbed by the doctor of the institute where she is honing her psychic abilities. Upon grabbing his hand, she 'sees' past events that happened in the same building. DePalma shows this transference of memory by having Irving stand in front of a rear projection of the events, with the camera panning around her. It is a marvellous and striking effect. DePalma's Body Double also features a very marked use of a 360 pan to suggest the hyper-artificiality of a scene. Watched closely together it is exciting to see a director re-use approaches to film making in such different ways. I would definitely recommend The Fury. Embrace the insanity of the plot (approach it as you would a work by Argento or other Giallo horror) and revel in the technical theatrics. However, the print used for the DVD isn't amazing picture-wise. There's a lot of grain in some scenes, with little blips and flecks across the screen. DePalma's work has never been released as a larger set, but it would be great to see The Fury get the blu-ray treatment with a polished print.

The title should somerise it, It really a good movie and it aged well.