A list of Edgar Wright's favorite 1000 Movies per his list on Mubi on July 27th, 2016.
An experience in terror and suspense.
A government agent is determined to come to his son's rescue, when a sinister official kidnaps him to harness his extremely powerful psychic abilities.
Oh, Brian, you insanely talented man. All the way through The Fury I was thinking "This isn't so great... meh." That is, until the last scene and that last fucking shot. You got me, you really got me. That was best final shot in any movie, ever. Holy fuck, really, De Palma!? You had the balls to even roll the credits after that. Genius. Pure genius.
The Fury stars Kirk Douglas, John Cassavetes, and Amy Irving. Douglas was fit, man. He looked like he could lift a horse. Cassavetes sported a sling throughout the film. I'm sure it was a character choice as he doesn't have much to do here. He still is as creepy as all fuck. Irving isn't…
Film is seen through sight. Images translate to our brains through our eyes into materiality – what is the becomes that, evidence of something that was in a place in time. But it is only an illusion that our eyes deceive. "Let that screen fill your mind," we are told. And yet, we cannot touch. We can desire to touch—out of lust, anger, fear, or love—but to touch is to destroy the screen.
Perhaps more than Blow-Out, De Palma's The Fury addresses our relationship to cinema, except through the most insane, backwards way possible: a conspiracy thriller with a psychological horror fantasy bent. But every moment in this film is either one of sight or touch. Sight is what allows…
The story--some hogwash about the militarization of psychic teens and the super-spy-dad who just wants to rescue his son from the clutches of an evil black-wearin' guy--has all the lumpy pleasures of a beat up novel you might find abandoned on a seat at a Greyhound station. This doesn't need anything more, really, it is a product after all, but De Palma injects into it all of this weird 70s paranoia, film brat angst, and generational anxiety that make it feel like a bigger statement. Like maybe this movie could cogently explain the root causes of racism or abuse or how movies work on the subconscious or various theories on other real life psychic maladies if it didn't also have to have shoot outs and car chases (note: I'm glad it does!) or characters and a plot (note: these are not as good). I'm happy to have it both ways. What an explosive mess!
Being a parent is hard. One day you're a superhero, a literal giant, necessary for your child's survival. Then all of a sudden they're bigger and faster than you, smarter and more mature, and off to college where they learn to use their minds to blow up fascism and the agents of darkness and they don't need you anymore.
It looks like Carrie was still on De Palma’s mind when he made this off-the-rails horror movie about a couple of star-crossed psychics. The Fury is as bonkers as you might expect with its overcomplicated premise and a bizarre conglomeration of recognisable actors, including a brief glimpse of Daryl Hannah in her first on-screen role.
De Palma’s tongue-in-cheek vibe allows you to laugh at the over the top characters who spend most of their time screaming and bleeding like a bunch of nincompoops in a Dario Argento movie. Although The Fury is not some throwaway rubbish, its unnecessary explosions and body bursts actually predate Michael Bay and David Cronenberg’s use of such techniques, who knew De Palma was such a…
I consider this and Dario Argento's Phenomena the cornerstone entries in my self-defined oeuvre of Headcanon Hard-R X-Men Anthology films that could be if MARVEL had the balls to buy the rights. While this particular entry is problematic, to say the least, in regards to its editing and pace, the pay-offs are all the more worth it because of the central performances and brilliant choices made in the course of the story to just give the audience what it wants and deserves.
This is a unique, difficult film to analyze. John Williams is channeling Bernard Hermann so hard, it practically bleeds through. While the film does suffer from an unfocused narrative, the money shots and key “Fury” moments are where…
The Fury is an example of De Palma's output when he seems to be having the most fun. It's more style than substance, in a way the he makes you feel like he knows how pulpy the subject matter is but can't help elevating it to high art. And he mostly accomplishes that. In a way, The Fury is like a version of Carrie with less attention paid to rooting the story in reality and embraces the strangeness. It helps to hand over the campy dialogue to two actors like Kirk Douglas and John Cassavetes, both of whom give there all to an inherently silly story. There's some pacing issues in the film, certain scenes don't add much to the…
Can be described like a mixture of X-Men and 70s paranoia thriller, but that combination sounds much more intriguing than the movie actually is. And throughout the movie I kept thinking: what would have David Cronenberg made out of the source material?
TK teenagers, secret government agencies and Brian De Palma. That's all you need to know.
If Carrie was an allegory of a typical teenager's living hell, then The Fury is portraying the disconnect between teenagers and their parents, authority figures and most especially their own government.
John William's score combined with De Palma's filmmaking prowess makes the movie feel like Spielberg on acid. Heck, Spielberg ended up marrying Amy Irving.
Messy and clunky as hell. This thing is all over the place and I'm not sure if it's intentional or not - which makes it even messier.
Kinda boring for long stretches too.
to CARRIE what CARLITO’S WAY is to SCARFACE: a complete reworking of the fundamental aspects of one of De Palma’s most renowned works; not only is he one of cinema’s absolute greatest visual storytellers, but also feels almost guilty when for producing a work too accessible, which is exactly why he directly followed CARRIE with this impressionistic, borderline nonsensical mind-bender that is unadulteratedly filmic and purely De Palma. strangely evocative in its varied exploration of cinema’s power, toying with both narrative – to assign this a single genre is taxing – and formal tricks – complete with signature split diopter shots; each frame is full and aesthetically engaging. De Palma is a subversive lunatic and this is more layered than I ever could have prepared myself for, frankly, but unpacking this further will surely be a rewarding luxury.
A few interesting things about this movie:
-This has to be the first movie that both editor Paul Hirsch and composer John Williams worked on post-Star Wars.
-Kirk Douglas is the good guy and John Cassavetes is the bad guy, even though neither really steal the show.
-Psychic stunts! What's the deal with the late 70s and ESP?? Scanners, Carrie, The Fury...has someone written a thesis on this yet??
-The ending. KABOOM! BLAMO! SHEBAMS! BLAMO! SHEBAAMS!
-Not much else.
Magnificent plants & wallpaper.
Brian DePalma has a way with movies. While I actually liked The Fury, having been inspired to watch some old telekinetic/psychic power movies after recent movie viewings, but it's really languid in its pace, nonsensical in its plot, but still very engaging. Part of it is the acting—it's just hard to turn away from the screen when Amy Irving, John Cassavetes, and Kirk Douglas are giving their all—but there's also the direction and camera work. The main thing this movie has that so many horror films, and especially the micro-to small budget ones, of today are lacking are wide shots. Where we can actually see the locations and surroundings of our characters. There's also thought and a plan in the…
Stranger Things, or Weird Shit as I like to call it, contains many homages to '80s genre films much to…