Page 24 THE VILLADOM TIMES I • October 29, 2014 ‘Fury’ looks at barbarism, futility of warfare by Dennis Seuling “Fury” is set in the waning days of World War II. Hitler has ordered one last push as the Americans make their way to Berlin. Among those closing in, mile by mile, town by town, is a tank crew headed by Don “Wardaddy” Collier (Brad Pitt). Col- lier’s team consists of men who have been with him through campaigns in Africa, Italy, and France. Now in Germany, Col- lier is assigned a new man, Norman Elli- son (Logan Lerman), to replace the tank’s previous assistant driver, who was killed in action. Ordered to the front from the steno pool, Norman has never seen battle. The crew members are colorful. Boyd “Bible” Swan (Shia LaBeouf) is the Chris- tian conscience of the crew. His opposite, Grady “Coon-Ass” Travis (Jon Bernthal), is a brute of a man with a volatile temper. Trini “Gordo” Garcia (Michael Pena) plays the competent, cool-under-fire driver. The men are loyal to Collier, grateful that he has led them through battle after battle unscathed. They respect him for his brav- ery and concern for the men he commands. The Germans have bigger and more power- ful tanks, and their own are down to four in number. Out-powered and outnumbered, they nonetheless advance. Director David Ayer (“End of Watch”) has created an exciting war picture with just enough characterization to allow viewers to care about the men who face the unpredict- able but imminent hell of battle each day. There is a frustration in the men, knowing they have to move forward even when it is clear the Germans will soon surrender. This is their job. They are soldiers, not Logan Lerman and Brad Pitt in ‘Fury.’ politicians or technical strategists. They must obey orders. After the Americans take yet another town, there is a brief pause in the hostilities when Collier and Norman encounter two young German women and sit down with them to a peaceful meal. Though terrified at first, the women eventually see that the two men wish them no harm and are respectful. The scene suggests domestic tranquility — a brief island of calm in a world on fire. The mood shatters when the other crew mem- bers break in and remind Collier, Norman, and the women that reality is right outside the frilly curtained windows. Pitt is given a harsh appearance, includ- ing a scarred face and a back that looks as if it has seen third degree burns. These touches reveal that, unlike a John Wayne character, Collier is not invulnerable. He has been in the worst of it and is a survivor. Because he has experience of the true horror of war, he looks after the green Norman with a com- bination of fatherly care and tough love. He emphasizes that Norman must do his part or the entire crew is in peril. Lerman (“Noah,” “Percy Jackson: Sea of Monsters”) must mature Norman from a terrified newbie into a seasoned fighter as the tank crew moves cautiously through enemy territory. Call it a coming-of-age story amid explosions, ambush attacks, and tough expectations of your fellow men. War movies tend to follow a pattern. Rather than focus on the big picture, they hone in on a small group of people who must deal with their part in fighting a war. The tank crew in “Fury” (that’s the name of Collier’s tank) won’t win the war by them- selves, but personalizing their struggle makes the onslaught they face help view- ers see the battles through their eyes. These are average men placed in extraordinary positions and expected to act courageously under orders. Rated R for graphic images of war and strong language, “Fury” is an unwavering look at the barbarism and futility of war. It is a brutal movie that captures the day-to- day fear and bravery of men hardened by what they have seen and lived through on the field of battle.