Fury

"Best Job I Ever Had"

            War is hell. That statement has been done to death throughout film history but it is a fact that needs not reiterated. World War II was hell, no secret there. We've seen in it in many heart-wrenching movies that take us into the lives of soldiers whether they be based off real events or a fictional ode to history. Fury stands alone in this category of historical fiction based off the U.S. 2nd Armored Division. You loved Saving Private Ryan. We all did. It's a phenomenal story that took audiences into a pivotal moment in wartime history and introduced us to the real horror that lies overseas. Now here it is, the best war film since Spielberg's. Fury is brotherhood from start to finish and latches on to what is the most difficult to swallow.

            This film is nothing more than blast after blast of action. There is nothing funny about it. Actually it is more touching than anything. Believe me, these guys have seen the worst of the worst. That's easy to say. What's hard to say though is how they continued to wake up every morning. Writer/Director David Ayer (Training Day, End of Watch) sets focus on the horizon ahead and does not stop until he's ready to fire. His cast of soldiers dwarfs that of Lone Survivor and can be put in the books as Shia LaBeouf's shining moment. But more of that later.

             Brad Pitt is back in Germany. Killin' Nazis  (instead of the "nA-tseez" in Inglourious Basterds). There is no shame in absolutely embodying the part of a seasoned soldier that loves nothing more than his country. We've seen him master it before and he sure is at it again.
             With the nickname "Wardaddy," Don Collier has been the commander of the American tank "Fury" for quite awhile now and knows his crew inside and out and vice versa.

"...and now I've got you."

            Collier runs into a bit of frustration with his new assistant driver and turret operator, Pvt. Norman Ellison (a heartfelt Logan Lerman, Perks of Being a Wallflower). As with every new guy thrown to the wolves, hazing is a must and maturity is to be had. Lerman is the face of innocence and great ignorance. He shows how he can handle an intense setting and proves a new versatility with this role.

            Tanks are huge and can do big damage but there doesn't seem to be much to them. Of course, that all depends on the crew running it. Collier's men are vulgar, gritty, and hard. They mesh with Fury like it has raised them to do so. Alongside Wardaddy and Norman are as follows: Boyd "Bible" Swan, Trini "Gordo" Garcia, and Grady "Coon-Ass" Travis.

L to R: LaBeouf, Lerman, Pitt, Pena, Bernthal. Home Sweet Home.

            Shia LaBeouf has completely transformed since his days on the Disney Channel and now he heads up the best supporting cast since last year's heavily nominated American Hustle. He mans Fury's main cannon as "Bible" Swan (you can probably guess how he got his nickname). This performance pulls the trigger with passion that bleeds through every pore with full speed emotion and control from every single angle.

            Michael Pena (End of Watch, Shooter) takes the wheel as "Gordo" Garcia, Fury's fearless driver. He provides subtle comic relief and a south of the border flare that is uncommon with films of this nature. Then there's Jon Bernthal (The Wolf of Wall Street, The Walking Dead) as "Coon-Ass" Travis who heads up the ammunition and assists "Bible" with the cannon. His loud mouth may drive you insane but don't let that fool you.

            The jaw-dropping adrenaline rush that comes with seeing Fury will seek and destroy those who are willing to witness. The writing, direction, and cinematography, is everything you need to complete the deal. Fury has provided this generation with a new classic and this year's Oscar contenders something to look up to. Sorry supporting actors, LaBeouf might already have this one in the bag. GRADE: 9.2/10

Gone Girl

Always Another Turn

"I thought writers hated cliches."

            This is just one of the many stand-out lines in Gillian Flynn's unreal script based off her own bestselling novel that can't stop raking in the compliments. Teamed up with the foremost thriller mastermind of his generation, David Fincher (Se7en, Fight Club, Zodiac), the two have combined their visions to tell this story of loss, betrayal, and psychosis in the most cliche ways possible. Gone Girl is paranoid from open to close while twisting and turning just when it could not have gone deep enough.

           First things first, the best part about this movie is every bit of evidence showing that is hand-dipped by Fincher. Even having seen this film with a season reader of Flynn's novel, the style stayed true to the book's theme. The brief fades in the opening credits and the abrupt and silent scene changes are all trademarks that will lead you to the edge of your seat without knowing it. The eerie and foggy score that climaxes and drops your jaw envelopes every sense of actually being in the room or next to them on the street corner. There is nonstop mystery and hairpin plot turns that take the audience further and further into this psychological workout.

            Did you know Ben Affleck is in it? Yeah, he sure is. He is Nick Dunne. He owns a bar with his sis Margo (emotional Carrie Coon) and is a former writer who comes home one day to find what seems to be a crime scene.

            Nick met Amy at a party some time ago and then ended up getting married. "Amazing" Amy Dunne (Rosamund Pike- Jack Reacher, The World's End) has a trust fund that could rent out Time Square along with the calming voice that trembles with anticipation. She has gone missing now and her kidnapper has left Nick with a mountain of clues. Not the best of clues, though, because it appears he's being framed. Anyway, the whole community and nation is up in arms with the dramatics of the newest missing bombshell. Most importantly, the media can't seem to get enough fun out of making our friend Nick look bad.

            The ever-present Tyler Perry is not very funny in this movie (thank the Lord!) as he watches Nick's every move. Ya know, because that's what good lawyers do best. While he lays down the law, Nick is scrambling for any info he can get his hands on. While his in-laws are little to know help, he resorts to Amy's rocky past with Desi. THE Neil Patrick Harris fully embodies what it means to an ex-boyfriend. Take that however you want but just sit back and watch.

            This thriller is suspense without the stun. The scare is effective and real but shakes you up in a different way. The media plays a suffocating role in the search for Amy and the cliches that are avoided are actually capitalized on. Sometimes that actually works in writing. While this seemed to become slightly drawn out during its 149 minute running time, it surely plays its own role in the frustration that comes with a strained marriage. What does it mean to truly be a fake? Ask David Fincher and he'll give you the real thing. GRADE: 7.9/10

Annabelle

A New Member of the Family

           Established fright guru, James Wan (head of both Insidious flicks, Saw, as well as The Conjuring) must have gotten uncomfortable sitting in the director's chair and let John Leonetti (The Mask, Insidious cinematographer) have the top spot for the nightmare prequel that horror fans have been longing for. Right off the bat, this was bad move by Mr. Wan. The Conjuring and Insidious both fully embody the definition of a well-rounded horror film and now there's Annabelle. This film has its scares as promised but lacks the much needed balance of a storyline that its superior predecessor provided.

           The Conjuring took the sound of two claps and kept us all up at night even from the previews. When the movie finally hit theaters, the audience was introduced to the story of Annabelle in the first scene. Two college coeds are cowering from the red scribbles on their walls done by the hand of a sinister doll. The film then leads into the lives of the demonologists that dealt with Annabelle and the new challenge that's been conjured up.

           The brief tease of Annabelle's reign of terror in The Conjuring was alluring and chilling but even I was wide-eyed and elated to see a movie being made just about this doll. Nothing beats a prequel, right. Just ask George Lucas. There's something about the story-before-the-story that draws a crowd and what better than make it another face-covering screamfest? Annabelle showed high hopes from how well done her original cameo was but Leonetti let me down with his flat dialogue between a young married couple and the brief ounces of fear that come and go.

            There's pregnant Mia (Annabelle Wallis. Yep, her real name) and intern physician John (Ward Horton, Wolf of Wall Street). They, along with their neighbors the Higgins', attend church and lend a hand when the other needs it. After the Higgins' are the victims of an unspeakably scary crime, Mia and John begin having doubts about the spiritual integrity of their home and the random findings around a doll John surprised Mia with.

             You know what the doll looks like. If you don't, you'll soon realize it's eyes alone will haunt you and make you question why anyone would ever purchase it. Is there such thing as something being too scary? Almost so much that it loses credibility?

             Since I didn't say anything earlier, Annabelle is based off true events revolved around a real-life doll. Now that that's off my chest, I wish the movie gave me the chills as the story behind it did. The Annabelle doll is still around to this day in the Warrens' home, safely waiting in a glass case.

Demonologists Ed and Lorraine
Warren pictured with the actual Annabelle doll.

             The darkness of this movie was not fully dimmed, though. There are instances that are definitely capitalized on and reflect that James Wan was indeed a producer. [Note: watch for a sprinting toddler.] Other parts are as cliche as they are jumpy. Sudden bass drum hits maximize a moment's terror but the fun is left on the stove too long with drawn out suspense. Mr. Leonetti, you can only zoom-in to Annabelle's crooked face so many times.

            The acting is from talents that have yet to be flourished but shows some promise. If it wasn't for the empty delivery of reading their lines directly from the script there could have been some genuine horror to be had. Getting a priest (Tony Amendola, Zorro saga) involved is a great scare tactic that hits home to the audience but seems forced and fake even for this porcelain exorcism. The eerie follow-up that was expected from Annabelle's story does not go down well for those in the market for an occult classic. GRADE: 5.9/10