“If it bleeds it leads”, proclaims crime news reporter Joe Loder (Bill Paxton) as he investigates the bloody remains of a car crash with his invasive camera lens in a bid to make the biggest bucks out of the exploitation of human tragedy. It’s a mantra which curious onlooker Lou Bloom (Jake Gyllenhaal, who has shed a massive 30 pounds for the role) takes to grim and vicious extremes when he sets up his own TV news business.
film reviews
Kieron Tyler
The key lines are “you’re reborn into an untroubled world” – a world “where everyone’s the same.” The 1956 Don Siegel science fiction film Invasion of the Body Snatchers is often taken as a response to America’s fear of Communism and the associated suppression of self, or as a commentary on the encroaching conformity brought by the spread of consumerism and a regimented suburbia. In both cases, homogenisation and standardised behaviour were the potential result.
Tom Birchenough
In The Overnighters documentarist Jesse Moss found his story and pursued it with remarkable empathy, all in the best traditions of the genre. He persuaded both sides in this tale of (quiet) confrontation to trust him, and they opened up completely. Then closing minute revelations that come as a total shock take his film to a different level, turning what would have been a strong film in itself into something that will stay in the memory for a very long time.
Karen Krizanovich
The Jimi Hendrix redux directed by John Ridley, Oscar-winning scriptwriter of 12 Years A Slave (and the underrated Undercover Brother, among others), was highly anticipated - especially as this take on the great guitarist’s life would not, apparently, feature any hits.
Nick Hasted
Mother love is mangled, yanked inside-out and tested almost to destruction in Australian writer-director Jennifer Kent’s heartfelt horror debut. The Babadook enthusiastically fulfils its remit to scare, but finds its fright in the secret corners of maternal instinct, where frustration, grief and violence meet.
emma.simmonds
As the bald title suggests, Fury is a work of righteous, focussed rage. It's a combat film which swaps preaching and profundity for pure anger at the brutalising, destructive war machine, and still manages to be illuminating. For, even at its most thrillingly Hollywood, Fury retains a keen sense of the waste of life. Director David Ayer's fifth film features explicit, immersive and impactful violence and works best when it's pummelling the audience and Nazis alike, with deafening, meticulously executed action that threatens to punch a hole through both the screen and your ear-drum.
Set in April 1945 in the dying days of World War II, Fury finds the American forces exhausted, diminished, bested by superior weaponry and deep in the heart of enemy territory. With Hitler having declared "total war" and the Germans defending their own soil, the fight is at its most terrifying, desperate and bitter. Brad Pitt (pictured below right) plays Don "Wardaddy" Collier, a tough, seemingly invulnerable tank commander who's made acting sergeant as the Allied numbers dwindle. His devoted, dishevelled team consist of Boyd "Bible" Swan (Shia LaBeouf), Grady "Coon-Ass" Travis (Jon Bernthal) and Trini "Gordo" Garcia (Michael Peña).
Don's replacement for his fifth man, decapitated by enemy fire, is the baby-faced Norman Ellison (Logan Lerman), who can type 60 words a minute - not terribly useful given the context - and no-one disguises their disappointment at the new addition to the crew. Told not to get too close to anyone, Norman's ominous and unbelievably disgusting first assignment is to clean his predecessor's blood and bodily fragments from inside the armoured vehicle. Fury is set significantly in the Sherman tank these men call home; snapshots and girly pictures are displayed alongside the Nazi trophies they've ripped from corpses.
With its macho camaraderie and sense that the men are hopelessly and relentlessly outnumbered and outgunned Fury resembles nothing more than a western (The Wild Bunch springs most to mind). It occasionally threatens to tip over into "The Little Tank That Could" territory, and is saved from doing so by its strong handle on not just the colossal, continuous loss of life (with blood and bodies everywhere and danger around each corner), but what is lost in these men, perhaps forever. The animalistic Grady (excellent work from Bernthal) is the prime example of what war does to a man, but even the more sympathetic Don is frequently forced to hide his humanity, adopting a savagely-cruel-to-be-kind approach in order to save them all.
It's much more powerful during scenes of combat
Tight-jawed and thick-skinned with his baby blues twinkling from a battle-scorched face, Pitt is a picture of holding-it-together heroism. The heavy losses see him continuously promoted and there's the slightly hyperbolic sense that the burden of the Allies' success lies solely on his shoulders - but that's perhaps how many in his situation felt. It's a committed and restrained performance, which may even bag him his fourth Oscar nomination. And it's rather a case of Pitt the older and younger here with the similar-looking Lerman establishing his acting chops, and showing a firm grasp of a tough character arc.
Fury is far from perfect - the grim predicament of German women is squeamishly skirted around despite an awkward attempt to address this, and it's much more powerful during scenes of combat than during scenes of (relative) quiet. Filmed in 2012, Ayer's last film Sabotage was released earlier this year and in its wasted cast and messy execution it had all the hallmarks of a film that had been slung together. With the release of the considerably more polished Fury so hot on its heels, we can now see where Ayer's heart was.
BRAD PITT’S BIG MOMENTS
Allied. Doomed but entertaining attempt to revive 1940s Hollywood
Inglorious Basterds. Pitt is gloriously absurd in Tarantino WW2 alternative history
Killing Them Softly. Brad Pitt cleans up an almighty mess in Andrew Dominik’s high-calibre crime ensemble
Moneyball. How Billy Beane created a revolution in Major League baseball
The Big Short. Pitt’s on the money as director Adam McKay successfully makes a drama out of a crisis
The Counsellor. Ridley Scott ensemble thriller is nasty, brutish and short or mysterious, upsetting and alluring
The Tree of Life. Terrence Malick’s elliptical epic leads us through time, space and one family’s story
PLUS ONE TURKEY
World War Z. It's World War with a Zee as Brad Pitt battles the undead and a zombie script
Jasper Rees
If you make a film about logging, you better be sure the audience can see the wood for the trees. When Jennifer Lawrence and Bradley Cooper lead a cast, usually they can do no wrong. Alas, where Silver Linings Playbook and American Hustle offered wit, surprise and characters to root for, such qualities are in meagre supply in Serena. Timber!
Tom Birchenough
Falling in love for the first time is one of the standard tropes of the movies. Brazilian director Daniel Ribeiro gives it a new twist by making the teenage hero of his The Way He Looks (Hoje Eu Quero Voltar Sozinho) blind, and realising in the course of the film that he’s gay.
Nick Hasted
When can Nazi Germany be humanised? Never, many German critics believed on Germany, Pale Mother’s 1980 release, when it was apparently despised for its “subjective” account of one woman and her daughter’s lives in that era and its aftermath.
Veronica Lee
Normally in Hollywood films, adult siblings being forced to spend time together is Thanksgiving-related, but in Shawn Levy's latest it's their father's death that brings the four grown Altman children together. Their dad, Mort, although an atheist, had a dying a wish to have his Jewish heritage honoured by his family sitting shiva (seven days of mourning).