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Asked by fury on Oct. 13, 2014
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Though it’s the action scenes that thrill, Ayer makes a point of balancing them with the quiet stretches between skirmishes, acknowledging that boredom — punctuated by a certain giddy tension —
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characterized much of the time soldiers spent at war. One could seldom anticipate when or where the enemy might strike, but when they did, the transformation from safety to survival mode was instant and entire. That makes for several heart-clutching sequences, including one that narrows Wardaddy’s tank column down to just one as they face off against a superior German Tiger tank, using the Fury’s speed and agility to defeat their armor-piercing rival. (The production shot with actual Sherman and Tiger tanks from World War II, along with a reconstructed interior whose removable walls did little to diminish the claustrophobia of the tight space.)

In another standoff, the tank column advances on a treeline at dusk. The scene looks like something out of “Star Wars” as the opposing sides exchange what looks like green and red laser fire, though the appearance and sound are both true to Ayer’s research: The glowing bullet trails are tracers, which allowed gunners to see where they were shooting — or not, in the case of the trigger-shy Norman.

As in “End of Watch” (in which one character miraculously recovers from a near-fatal shooting), Ayer allows himself to play God here, deciding the fates of his characters for emotional and dramatic impact, even if none should logically survive the assault. Would a team of five men with a half-disabled tank really dig in their heels and fight a platoon of Germans nearly 300 strong? This choice is the most “Hollywood” element in a film that is constantly shifting between disturbing, realistic details (a burning man who shoots himself to escape the pain, or the German “cowards” hanged by the SS from street poles) and the stilted, sometimes even hammy liberties needed to make its point.

Ayer’s seemingly contradictory approach can be heard in nearly every line: On one hand, he goes out of his way to capture authentic-sounding slang, encouraging the actors to use accents that aren’t always intelligible amid the hyper-attuned (and occasionally deafening) sound mix. On the other, there can be no mistake that this is dialogue, not natural speech, for they express themselves in terse, trailer-quotable soundbites that tend to remind us that we’re dealing with a collection of stereotypes, of which Bernthal’s redneck is the least convincing, though none ever seems more than skin-deep. If their sacrifice is meant to be memorable, we must first believe them to be men: Ironically, it’s the baby of the group, Norman, who emerges “Fury’s” most full-fledged character.

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