



Percy Jackson movies and Noah respectively, Lerman is a revelation as a young boy forced to witness horrific acts which his companions appear to shrug off as everyday occurrences. Pitt is of course enjoyably watchable, while fellow crew members all bounce amiably off one another, notably Shia LaBeouf as bible-toting gunner Boyd in his best performance to date. Everything that works within the film hangs entirely on the central performance by Lerman: sure, Brad Pitt is placed front-and-centre on the posters as usual, but fresh-faced Norman is the key. Building upon previous lacklustre to moderate performances in themovies andrespectively, Lerman is a revelation as a young boy forced to witness horrific acts which his companions appear to shrug off as everyday occurrences. Pitt is of course enjoyably watchable, while fellow crew members all bounce amiably off one another, notably Shia LaBeouf as bible-toting gunner Boyd in his best performance to date.

















Saving Private Ryan has the cinema screen seen such a nihilistically matter-of-fact look at the horrors of war. Whilst Norman exudes disgust and tangible fear as cannon-fire bursts and bodies are savaged around him, Wardaddy and co. simply plough through. The film flat-out refuses to shy away from the horrific details, and the spectrum of violence is guaranteed to elicit everything from muttered swearing to audible gasps from the audience. The catalyst for the lead’s believability is the world of the film: not sincehas the cinema screen seen such a nihilistically matter-of-fact look at the horrors of war. Whilst Norman exudes disgust and tangible fear as cannon-fire bursts and bodies are savaged around him, Wardaddy and co. simply plough through. The film flat-out refuses to shy away from the horrific details, and the spectrum of violence is guaranteed to elicit everything from muttered swearing to audible gasps from the audience.





Star Wars-esque laser bolts of green and red dependant on the owner. While initially confusing, this decision gives the sequences of unmentionable violence a certain visual flair, the brutally intense sound design doing it’s very best to build on the immersion. On a production design level, the film owes a debt to almost every World War 2 film that precedes it, with mud and grime caked over every object and the blood mixing with the rainwater to create stagnant brown puddles. Where the special effects are concerned, the most surprising comparison can be drawn: to escape the issue of gun battles becoming incomprehensible and the two sides indistinguishable from each other, the muzzle flashes of weapons have been enhanced with vibrant,-esque laser bolts of green and red dependant on the owner. While initially confusing, this decision gives the sequences of unmentionable violence a certain visual flair, the brutally intense sound design doing it’s very best to build on the immersion.





forced – to pick a side and root for it to the bitter end. It’s at this point that the adrenaline/alcohol-fuelled bravado of the tank crew begins to wear thin and the air of believability fades into the background, never to be seen again, whilst the terrific score by Gravity’s Steven Price switches from intense and exciting to manipulative and overtly rousing. Within the final act – without wishing to spoil the outcome – the film encounters one or two flaws that sadly ensure its falling short of brilliance: the honest tone that presents neither side as innocent and heroic throughout is thrown out and we are asked – and one might argue– to pick a side and root for it to the bitter end. It’s at this point that the adrenaline/alcohol-fuelled bravado of the tank crew begins to wear thin and the air of believability fades into the background, never to be seen again, whilst the terrific score by’s Steven Price switches from intense and exciting to manipulative and overtly rousing.





Fury comes closer than many but falls just short of the mark. There is still enough in the performances, the gripping action sequences and the stylish special effects to label it an above-average attempt, but for your 2014 dose of nihilistic warfare I'm inclined to recommend Lone Survivor as a first, with Fury as a very close second. As a cinematic depiction of war,comes closer than many but falls just short of the mark. There is still enough in the performances, the gripping action sequences and the stylish special effects to label it an above-average attempt, but for your 2014 dose of nihilistic warfare I'm inclined to recommendas a first, withas a very close second.





4 stars

From director David Ayer,is the story of Norman Ellison (Logan Lerman), a recruit drafted into service as an assistant tank driver in World War 2 under the command of Don ‘Wardaddy’ Collier (Brad Pitt). Thrust into the heat of battle amongst his much more experienced comrades, Norman is subjected to the horrors of war as the crew of the titular tank battle their way across Europe in the final days of war.