a list that is trying to contain every horror film made that is not lost and is found on the…
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…
Liberace's dad on a relentless quest to find his missing son. A fun day at the beach ends in disaster. Free your mind and the rest will follow. Bloody visions. Roid rage. Frisbee with a dog. Playing Pong. Skinny Dennis Franz. Busting out of a nuthouse. Whiskey cures toothaches. Telepathic puppeteering. Tragic falls. The blue eyed glow of death. Douglas is great. Cassavetes fucking owns, but both needed more screen time. I didn't click with Amy Irving and she has way too much screen time for me to fully enjoy. Douglas in a speedo mowing down baddies with an AK-47 is the shit though.
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.
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…
"I didn't have to touch you to hurt you."
cinema as psychic phenomenon, the image is a weapon.
So, when you set up a giant fake carnival inside an airplane hangar to test out your psychic assassin, do you actually tell the guy playing the Arab sheik that he's going to end up getting thrown from a Tilt-A-Whirl into the side of a building? Also Jesus Christ, that last shot. Holy fucking shit.
It's kind of weird how much of this movie is predicated on people who are aware that psychic abilities are real attempting to bluff aforementioned psychics. Hey Dummy, they can read your fucking mind - that's why you were studying them, remember?
Second viewing. I first saw this when I was an 18-year old De Palma superfan. At the time, I loved it, but my memory of it began to fade over the years, and watching it again, I can kind of see why.
I now consider this to be minor De Palma. I've heard film glossaries criticize the film as a pretentious follow-up to "Carrie", an example of De Palma having let his previous success get to his head, and while I wouldn't go that far, I would at least agree that the script (written by John Farris, based on his own book) is weak. The story is all over the place. The movie holds our attention whenever Kirk Douglas is…
A lot of great parts that never add up to a whole. It feels like half a dozen films mashed together: CIA revenge thriller, the school for telekinetic kids, fugitive bonds with old person, Frankenstein's monster, and so on. THE FURY almost takes on an anthology film sensibility; if you're bored with this part, just wait around a bit and you'll be watching a completely different movie. The film only really congeals into a demented consistency for the last twenty or thirty minutes, right around the time Andrew Stevens starts levitating his doctor/lover and spinning her around the room until she dies (revisited in MISSION TO MARS when De Palma dispatches with astronauts via a swirling Mars twister). John Cassavettes eats all the scenery, but Stevens utter shitheelness really shines. The film lets him continue to be and ugly son of a bitch, making his father's dedication to him all the more tragic.
Less a palatable thriller than a feature-length thesis on mediatized liveness.
As much a fool's errand as Peter Sandza's (Kirk Douglas) quest to save his son, you can either make an academic film that articulates how cinema has the power to inspire kinesthetic response in its viewers (to move someone without physical sensation or manipulation) or you can, you know, just do it. Brian De Palma opts for the former approach here, although he has otherwise done just fine taking the praxis route in most other directorial efforts. THE FURY is intellectually impotent, while aspiring to be something heady and provocative.
I always wanted that to happen to Cassavetes.
Filmmaker Brian DePalma followed up the mega success of CARRIE with yet another telekinesis/psychic powers themed thriller,with this one being a heavily violent action-laced film adaptation of a John Farris which(like THE OMEN) was heavily promoted as a major studio splatter heavy horror film. Kirk Douglas is a government agent who is out to rescue his teen son(Andrew Stevens) who has been kidnapped(during an attack siege by a group Arabic terrorists during a Israeli vacation) by his ex-friend-turned-vicious rival government agent(John Cassavettes) who plans on using him for his powers. Douglas and his girlfriend Carrie Snodgress soon locate another psychic powered teen,that being Amy Irving who is held captive in an institute that is in cahoots with Cassavettes and his…
"...and what a culture can't assimilate, it destroys."
- Kirk Douglas was never not cool.
- John Cassavetes just oozes sleaziness.
- I didn't love this, but that fucking ending is just sublime!
Weird moments of goofy humour, some hammy acting, strange slow motion action scenes blend with some genuine flashes of horror and a crazy ending.
#9/31 - 31 Days of Horror (2015)
Things might get explosive...
Missing films I can't locate on Letterboxd:
Blonde Ambition (1981)
I Like to Watch / Caballero (1982)
Mona the Virgin…
All the films I could find that QT uses as reference points in his films.
1-48 Reservoir Dogs (Django of…