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| ACTORS: | Kirk Douglas, John Cassavetes |
| CATEGORY: | DVD |
| DIRECTOR: | Brian De Palma |
| THEATRICAL RELEASE DATE: | 10 March, 1978 |
| MANUFACTURER: | Twentieth Century Fox |
| MPAA RATING: | R (Restricted) |
| FEATURES: | Color, Closed-captioned, Dolby, Widescreen |
| TYPE: | Horror |
| MEDIA: | DVD |
| # OF MEDIA: | 1 |
| UPC: | 024543013877 |
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Customer Reviews of The Fury
TOTALLY COMPELLING Exuberant and glossy, this DePalma follow-up to CARRIE is a telekinetic feast. Incredulous and mind-blowing, this is a great pop movie with some fabulous DePalma sequences -- Amy Irving's flashback on the stairs is a dizzying and imaginative plot-mover; the opening assault will take you by complete surprise. In addition, there are some affecting performances mixed in among the hambone, but effective, performances of Kirk Douglas and especially John Cassavettes, who plays this role as if he is Rosemary's husband all grown up and evil. Carrie Snodgress is truly moving in a way too small role, and Amy Irving glows in those richly textured close-ups DePalma does so well. The story is compelling, if a bit convoluted, what with its undertone of doom and a special-effects romance that never plays itself out. If you love engrossing suspense/horror films, you can't miss with this one. Pino Donaggio's dense and lyrical score adds a mesmerizing dimension to the increasingly gory proceedings...And the finale is supremely satisfying.
When DePalma Even Knew How To Make "Great Bad Movies"
Brian DePalma hasn't made a fully satisfying film since "Dressed To Kill" in 1980. During the same year, I saw an edited version of DePalma's "The Fury" on CBS-Network television. I recently saw an uncut version of this film. "The Fury" takes viewers back to a time when DePalma even knew how to make "Great Bad Movies."
A government agent(John Cassavetes) kidnaps the telepathic son(Andrew Stevens) of an old colleague(Kirk Douglas). Douglas sets out to rescue Stevens with the help of an old girlfriend(Carrie Snodgress) and another telepath(Amy Irving).
"The Fury" is a true guilty pleasure from DePalma. DePalma's efforts to combine the horror and spy movie genres is hokey. Some of the dialogue between the characters is absolutely ridiculous. Nevertheless, "The Fury" is still a very good film. Unlike such recent DePalma failures as "Mission To Mars" and "Raising Cain," "The Fury" is a flawed movie that still manages to be highly memorable and entertaining. The film is much more entertaining than DePalma's plastic Hollywood blockbuster "Mission: Impossible." As a telekinesis-oriented horror film, DePalma's film falls short of David Cronenberg's "Scanners" but is vastly superior to the Drew Barrymore film "Firestarter." With his dark and menacing features, John Cassavetes makes a great bad guy. If he had chosen to focus on acting rather than independent filmmaking, Cassavetes would have become one of the great villains of the big screen. Amy Irving is one of cinema's more underrated beauties. "The Fury" never has a dull moment. The ending also features one of the greatest death scenes for a villain in movie history.
"The Fury" is for all Brian DePalma fans and anyone who loves horror films.
Beautiful, bloody, and intense
This sci-fi horror espionage thriller has a weak script and clumsy plot but some beautiful horror set pieces. As with Brian De Palma's previous film, CARRIE, the focus here is a sweet young girl (Amy Irving) with awesome telekinetic powers. She's searching for her "psychic twin" captured by a secret government agency for use as a military weapon; Kirk Douglas plays the boy's superspy father who's also looking for him. As with CARRIE, you fall in love with the girl just as the most awful things start happening to her--and, this being De Palma, those awful things involve lots and lots of blood. The movie builds its tension slowly, leisurely, and then, wham, you're hit with some of the most intense horror sequences ever put on film. De Palma's a very smart director who's not all that interested in script or plot--he's just interested in orchestrating the terror sequences for maximum effect. If you give in to the film's sometimes quirky rhythms and oddball attempts at humor, it's quite a ride.