Movies that are slightly off.
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…
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…
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…
Dr. Jim McKeever: ...and what a culture can't assimilate, it destroys.
Time has not been friendly to The Fury despite the fact that is has Kirk Douglas (in fine shape) and John Cassavetes as antagonist telling the story between a good guy versus bad guy battling on the possession of a young kid in possession of psychokinetic powers.
With some editing and bringing back the running time from close to two hours to say 90-100 minutes, the pace would have been much better and it would help making The Fury a stronger story. As it is now it feels somewhat bloated and at times it has the pace of a snail.
Still the ferris wheel scene as well as the explosive end still stand today and are top notch scenes worthy to watch!
With the steady influx of psychic power films following the success of Carrie, it felt as if the gimmick could and would go anywhere, as evidenced by De Palma's follow up, The Fury, which seemingly adapts to a new narrative style with each evolving sequence. It is a formless grab bag of goodies, at once suspenseful, comical and confounding, sometimes all within the same shot. It's a borderline mess. But boy oh boy is De Palma's camera sexy as hell here. There are countless shots to marvel at, my favorite being the series of cuts following Kirk Douglas's apartment escape across Chicago's L train. And the very final image of the film is literally unforgettable, with the reigning Bernard Herrmann homage and the slow motion flying of guts and limbs. It might be De Palma's very best closing shot.
Imagine Carrie but with shootouts. It contains some of De Palma's best set-pieces (which is saying something), a wonderful central performance by a former Mrs. Spielberg, and the score is a brilliant John Williams riff on Bernard Hermann as opposed to the usual tacky sound that one comes to expect from a De Palma movie from this period. The effects are a bit cheesy and the plot drifts away at times but De Palma explores territories that Hitchcock wouldn't have. Not only is this the funniest film in De Palma's canon but he has a head exploding scene that would make Cronenberg furious.
It's like Scanners if Scanners were boring as hell.
Una de las películas más extrañas que haya visto. No tiene ni idea de qué es o quiere ser y a mí me parece espléndido
This is sooo bad. Didn't think it would be possible for De Palma to make a worse film than The Black Dahlia.
What a waste of Kirk Douglas and John Cassavetes, jeez.
Extra half star for the Scanners esque body implosion at the end.
Not DePalma's finest 2 hours, though it has it's moments. You can spot some of his signature style occasionally poking it's head out from underneath what is a pretty clunky story. Perhaps only enjoyable if one is otherwise a big DePalma fan.
First timer. Always kinda skimmed by it over the years. I liked it. The MIND, man.
Quentin Tarantino's favorite films based on the internet pulled from multiple sources.