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Story involves two teenagers--Gillian (Amy Irving) and Robin (Andrew Stevens). They both have the power to make people bleed and see past events. Robin is kidnapped by a secret government agency and Gillian is going to the Paragon Institute to learn more about her "power". There's a LOT more going on but it's too confusing to get into.

When I saw this on video back in the 1980s I loved it. Seeing it now I hate it. The story is very confusing with way too many characters and plot holes galore. The dialogue is terrible (I kept playing back scenes on the DVD because I couldn't believe what I had just heard) and this moves VERY slowly (it runs two solid hours).

The acting doesn't help. Irving is too weepy and whiny (but she IS great in the final scene). Stevens has never been a good actor. Douglas walks through his role and John Cassavates (playing the bad guy) gives a one-note performance. The only good acting comes from Carrie Snodgrass, Charles Durning, Carol Eve Rossen and (especially) Fiona Lewis.

It has some good things--the direction from Brian DePalma is excellent (especially Irving's slow motion run from the Institute) and there's a good score by John Williams. Also it does have a few incredibly bloody deaths. These were considered extreme back in 1978 but they aren't anymore (and look incredibly fake). There's also a great final scene and I got a good laugh over the incredibly dated video games Snodgrass and Irving play at one point. Also Daryl Hannah's first film.

So it DOES have some good things but the slow pace, confusing story and lousy dialogue sinks it. I can only give it a 5.

Peter Sandza (Kirk Douglas) a government agent is betrayed by a fellow friend/agent Ben Childress (John Cassavetes), who kidnapped his son for his psychokinetic powers. Where we learn that a secret US agency is holding him and that he's being used in dangerous mind experiments. So Peter gets help from a girl with similar abilities to locate his son's whereabouts.

I wasn't expecting too much from it after borrowing it off a friend that recommended it to me. After seeing it, it's probably De Palma's most underrated film in my books. It might not have dated that well and the premise of the film might be considered ludicrous now, but it doesn't stop it from being an exciting adventure.

This is a flashy and mostly fast-paced thriller by director Brian De Palma. It does have a couple of slow moments and maybe it was a tad too long, but it's well compensated by superbly tense situations and blistering action sequences, especially in the first opening hour involving Douglas's character when his son is kidnapped and when his hiding out from government agents. There are also some scenes that are not recommended for the squeamish. As some scenes are filled with a lot of blood and more blood. It's rather graphic violence. Not to forgot the whooping and hearting-pounding conclusion. The make-up and special effects throughout the film are truly stunning.

The plot basis is on psychokinetic powers and at times it's rather absurd and incoherent. With some incredibly cheesy moments within the dialogue. Though, the direction is what covers the story's inconsistencies, with great and simply memorable set-ups and some well-shot scenes. The music score is fairly effective in building up the tension and thrills, but also it has an impact in the quieter moments.

There are great performances from the experienced Kirk Douglas (who's incredibly fit for his age and has some physical roles) and Cassavetes, who really boost and add some class to the film. There is such a great chemistry between them and Cassavetes is simply riveting as a conniving agent. Amy Irving was good in her role as Gillian Bellaver, the girl who is having trouble coming to grips with her strong psychokinetic powers. Though, the same can't be said about the rest. As Andrew Steven's as Robin Sandza is incredibly hammy and Carrie Snodgress as Hester is fairly irritating.

I wouldn't class it as one of De Palma's best, but still it's far away from his worst. Overall, it's a fascinating set-up that has its fair share of flaws, but that doesn't disrupt entertainment factor.

"The Fury" was a decent movie. It started off rather fast paced and I was somewhat clueless as to what was going on, but as the movie went on I got into it. Peter Sandza (Kirk Douglas) was going through great lengths to find his kidnapped son, all the while his son, Robin (Andrew Stevens) was under the watchful eye of a government official interested in Robin's psychic abilities. A collision course is set between Robin and another young lady with psychic abilities as well. The movie has a bit of suspense and a bit of spookiness to it as well. The ending was a total surprise and very um... bloody. I liked the movie, I thought the story was unique enough and the suspense and action wasn't half bad.

'The Fury' is a very interesting mixture of science fiction, horror, action, and espionage thriller. One of Brian De Palma's most underrated movies, it isn't without some flaws, but overall I enjoyed it much more than some of his most recent disappointing efforts like 'Snake Eyes' and 'Mission To Mars'. They might be much better known than 'The Fury' but they are not better movies. The plot is a bit convoluted at times, and maybe a little TOO ambitious, but there are several classic sequences that make this a must see for any De Palma fan. The whole thing comes across like a cross between 'Carrie' (De Palma's previous movie), and Cronenberg's 'Scanners', a movie it predated by three years, interestingly enough. Amy Irving, who also appeared in 'Carrie', is beautiful and believable as Gillian, a troubled teen attempting to understand and control her frightening paranormal powers. Veteran Kirk Douglas ('Spartacus', 'Saturn 3') and cult director/actor John Cassavetes ('Rosemary's Baby', 'The Killers') are both solid as friends-turned-enemies who once worked for the same nameless Government agency. Douglas' psychic son Robin (Andrew Stevens) is kidnapped by Cassavetes and his cronies and experimented on until he reaches the brink of madness. Douglas desperately searches for him by any means necessary, a quest which inevitably means he encounters the traumatized Gillian, who has an increasing psychic link with Robin. Irving and Douglas are both excellent in this movie, Cassavetes plays a fantastic villain, and the supporting cast includes Carrie Snodgress ('Diary Of A Mad Housewife'), Charles Durning ('O Brother, Where Art Thou?'), Fiona Lewis ('Drum'), and cameos from Daryl Hannah ('Bladerunner'), De Palma semi-regular William Finley ('The Phantom Of The Paradise') and a noticeably younger and thinner Dennis Franz (NYPD Blue'). While I couldn't argue that 'The Fury' is De Palma's best work it has aged very well indeed and is recommended viewing. This is one movie that deserves to be re-evaluated!

THE FURY

Aspect ratio: 1.85:1

Sound format: Mono

An ex-government agent (Kirk Douglas) enlists the help of a gifted psychic (Amy Irving) in the search for his equally gifted son (Andrew Stevens), who has been kidnapped by a sinister cartel for nefarious purposes.

Dismissed at the time of its release as a mishmash of themes and genres, Brian De Palma's dazzling thriller encompasses Middle Eastern terrorism, government conspiracies, psychic horror, and a series of Grand Guignol set-pieces, orchestrated with pulp grandeur by a director flexing his creative muscles. Highlighted by John Williams' magnificent score (a genuinely eerie composition, one of the best of his career), the film builds slowly and surely to an explosive climax which closes proceedings on a note of absolute screaming hysteria (celebrated and vilified in equal measure by fans and critics alike!). The supporting cast includes John Cassavetes, Charles Durning and Carrie Snodgress, all of whom add gravitas to the material. Look fast for Daryl Hannah in an early pre-stardom role.

Brian De Palma directs John Farris' novel like a wizard at a witches convention. Thrills, intrigue and paranormal with vivid violence. Kirk Douglas goes in search for his kidnapped son(Andrew Stevens), who has been snatched by the head of an institute for psychic research. The ruthless boss(John Cassavetes)and his administrative assistant(Charles Durning)are also cultivating the psychic powers of a young girl(Amy Irving). Both young people with their extraordinary mind power can be sold to the highest bidding terrorist organization.

My favorite two scenes happen to be two of the most violent scenes in the movie. The first is where the alluring Fiona Lewis playing Dr. Charles is elevated into the air by Stevens and is set to spinning until she bleeds to death. The second scene that gets to me is in the final moments when Cassavetes gets his just desert.

Douglas is showing his age in this role as the business tycoon, who himself was left for dead. He still proves to pack a punch and hold his own as the lead. Carrie Snodgrass is ho-hum in her role as Douglas' lover and friend of Irving. Her character's demise is also quite violent. Miss Irving is perfection in her young and charming way. Look for Gordon Jump(of WKRP fame)in a small role and yes that is Dennis Franz(of NYPD Blue) early on as the young cop with the brand new car.

Sometimes a little bit slow, but this is your part in earning the big bangs for your bucks. John Williams provides a very haunting score that keeps this thriller thrilling.

Suspense, thrills and grisly killings by imitative director Brian De Palma . This scary triller is plenty of mystery , intrigue , suspenseful and creepy scenes . It is a potentially brilliant and ingenious chiller that concerns about a government agent , Peter Sandza , (Kirk Douglas , he was aged around sixty-one years of age , Kirk was cast as the lead because director had felt that his previous picture had suffered at the box-office without a name draw-card) determined to come to his son's (first major cinema movie role of actor Andrew Stevens) rescue , when a sinister official (John Cassavetes) kidnaps him to harbor his extremely powerful psychic abilities . As he is forced to take on a super-powerful government agency called MORG (it stands for the Multiphasic Operations Research Group) which has kidnapped his son with psychokinetic skills . The intrepid father is helped by a good friend called Hester (Carrie Snodgress) . And then things really get worse . Meanwhile , a young girl (Amy Irving who married Spielberg , she attended a biofeedback clinic to learn about different levels of consciousness, as she had a better sense to play) who personally experiencing psychic changes is taken in a strange Institute of supernatural forces . Peter uses desperate attempts to save hid gifted son from being used or destryed . At the end takes place the ultimate revenge story .

This stylish chiller contains long-drawn-out tension , flash violent scenes and shock effects with the accent on gas-provoking , but on most occasion without finesse . Adding special characteristics techniques as ominous camera movements and wide screen . This flick was made and released about two years after its source novel of the same name by John Farris was first published in 1976 ; Farris also wrote the screenplay for the film . It is is a contemporary thrilling tale that utilizes the average man against the unknown approach that made Hitchcock 's suspense films so effective . All this said , the mechanics of suspense are worked quite well and may frighten the easily scared quite badly , but De Palma has made a habit of dwelling on their more sordid shoots . Director 'Brian de Palma''s second movie featuring Telekinesis, his first had been Carrie (1976) , as actress Amy Irving appears in both films . In fact , this picture has often been described as a cross between The Omen (1976) and a peculiar follow-up to Carrie (1976) . Very good cast plenty of familiar faces such as John Cassavetes , Charles Durning , Rutanya Alda , Fiona Lewis , Carrie Snodgres and William Finley who played for De Palma , Phantom of paradise . Being the first film for both Daryl Hannah, Laura Innes and look fast James Belushi as an extra , as you can see him in a pair of dark trunks a few steps behind Irving . The film displays a great and haunting musical score by John Williams , previous his fruitful collaboration to Steven Spielberg ; he composed in the style of a Bernard Herrmann score from an Alfred Hitchcock movie . Furthermore , appropriate and colorful cinematography by excellent cameraman Richard H Kline .

The picture was brilliantly directed by Brian De Palma , adding special characteristics techniques and special camera movements . The movie was realized during his period when Brian made outwardly odes to Hitchcock , such as ¨Obsession¨ , ¨Sisters¨, ¨Dresssed to Kill¨ and ¨Blow out¨ . Rating : Above average , as it gets some riveting basic ideas and fascinating images. Essential and indispensable watching for Brian De Palma buffs and Kirk Douglas fans .

THE FURY is so bad that it's amazing. After the success of the overrated CARRIE, Brian de Palma was given a chance to direct another ESP thriller, with Amy Irving (also from Carrie) and the result is bad. I have never seen a movie so devoid of a story or sensible characters or logic. It's simply a mishmash of camera angles, bad acting and overblown music. There are so many unintentionally hilarious scenes in THE FURY that it's pointless to name all of them because it would take as long as the movie itself in order to do so. But here are my favorite scenes (spoilers ahead):

• The scenes at the school with that bitchy Margot Kidder look-alike.

• When Gillian (Amy Irving) "witnesses" the experiments Robin is going through and Gillian is freaking out as she's watching the bad guys replaying the film footage of the kidnapping of Robin (Andrew Stevens), which occurred at the beginning of the movie. The kidnapping wasn't scary or remotely troubling. It's just a standard shoot-em up scene and yet when Gillian watches the kidnapping, she is shown to be shocked and horrified beyond belief. I wasn't even close to being scared or troubled by the scene as Gillian was, which makes her character look totally silly.

• When Gillian has a vivid ESP moment and she grabs the hand of a woman and blood starts pouring out of the woman's fingernails. Cutex overload?

• When Gillian leaves the building and everything happens in slow motion, which results with the death of Hester (Carrie Snodgress), in a car accident. Cue Kirk Douglas screaming and crying and fighting, all in slow motion. Very funny.

• When Robin attacks the Arab men on the amusement park ride. Hilarious moment.

• When Robin attacks his father (Douglas) and both of them end-up on the edge of a rooftop, where Robin falls to his death. The really funny thing about this moment is that Robin was levitating when his father found him. So why didn't Robin prevent himself from hitting the ground by levitating his body? That scene doesn't make any sense whatsoever. And it's incredibly funny.

• After Robin dies from the fall, his father, hanging on the rooftop, kills himself in anger by letting himself fall to the ground. This scene is straight out of AIRPLANE.

• When Gillian blows up the bad guy (Cassavetes). I was literally rolling on the floor, like the dismembered head in the movie. Shake and Bake?

The acting by everyone is atrocious. Amy Irving cries throughout the movie. Kirk Douglas is embarrassing. Most of the actors don't even seem to know what they're doing. The music is bombastic. It's obvious that De Palma was given loads of money to come up with a new CARRIE-like flick and the result is rushed and nonsensical. THE FURY reminds me of a Philly cheese sandwich: it's not good for your health but it sure taste good with all that 1970s cheese in it.

Does anyone remember the famous Star Trek episode, one of the earliest ones where an encounter with an anomaly in space leaves Enterprise crewman, Gary Lockwood with powers and abilities far beyond those of mortal men? If you'll remember he was abandoned on deserted asteroid. The Fury deals with a young man on the way to being another Gary Lockwood.

Young Andrew Stevens has those abilities already, they just need to be focused and developed. Stevens is being raised by his widowed father Kirk Douglas who's a government agent. A raid while they're on vacation in the Mediterranean by some Arab terrorist types allows a ruthless bureaucrat played by John Cassavetes to separate father from son. Stevens believes Dad has died, but Kirk doesn't swallow that so easy.

Kirk's on the hunt for his son and the quest takes him to Chicago where people like Stevens with paranormal abilities are being studied and tested so the USA can have them as a weapon. Carrie Snodgrass and Charles Durning are working there as well. And so is Fiona Lewis who's been given personal charge of Stevens and develops the kid's libido as well as his telekinesis.

Brian DePalma directed this film and it's a good one with outstanding performances by all the cast. Look for a good performance from Amy Irving as another young person with such abilities who literally makes Cassavetes fall apart at the end. And there's a memorable bit from a younger and thinner Dennis Franz before the gain of weight and loss of hair that we all know as Detective Andrew Sipowicz. Franz plays a Chicago police officer who's something of a doofus.

Fans of Brian DePalma in particular and horror films in general will very much like The Fury.

After the success of Carrie (1976), Brian De Palma followed up with another outstanding film about youths with incredible telepathic powers.

Government agent's telepathic son is kidnapped and along with a similarly-gifted teenage girl he seeks to save him.

Based upon the novel by John Farris, The Fury is a film that could have easily became a mundane action film if not for the splendid direction of De Palma and an outstanding cast. De Palma once again shows his excellent directorial style and his technique for grand suspense. The Fury has some great action sequences, a tremendous climax, and one outrageous conclusion! Makeup FX artist Rick Baker lends his talents to create some good blood-letting, especially for that knock-out closing image. John Williams also deserves special mention for his wonderfully powerful music score.

Star Kirk Douglas is great as the government agent searching for his son. John Cassavetes is good as the films cold villain. Amy Irving and Andrew Stevens are both sympathetic as youths attempting to live with their amazing mental powers. Supporting cast Snodgress, Durning, and Lewis are also good.

All around The Fury is a pretty under appreciated thriller that firmly ranks among the best of De Palma's films.

*** 1/2 out of ****

Fortunately, De Palma's hyperbolic, visually compelling, science fiction occult espionage thriller moves so fast that the ludicrous dialog, indifferent performances, and Swiss cheese plot don't spoil the fun. The Fury starts from an interesting premise, but De Palma is clearly more interested in the spectacular set pieces than logic or characterization. The potentially most interesting character Robin is off screen for too long and instead we get low comedy relief with Mother Knuckles and the off duty cops in the Caddilac. Also, Gillian's mother and the students at the Paragon Institute seem to disappear. And where Sissy Spacek was touching as Carrie, Amy Irving and Andrew Stevens as psychic teens who unleash the fury are whiny and callow, and you don't really care about their fates. Though Douglas, Snodgress, Cassavetes and De Palma regular William Finley ( Raymond Dunwoodie) are always interesting, the rest of the cast is pretty bad. And a scene between Irving and Douglas on a bus is embarrassingly bad. Still, The Fury with its telepathic visions, its pulse pounding score by John Willams and Richard H. Kline's elegant deep focus cinematography is superior to junk like The Eyes of Laura Mars. De Palma pulls out all the stops and creates some spectacularly over-the-top scenes. Faults and all, The Fury is more entertaining, and less pretentious and derivative than most of De Palma's more recent efforts to say nothing of Dressed to Kill, Body Double, Obsession, Wise Guys, Carlito's Way, Raising Cain, and The Bonfire of the Vanities.

The boss of an institute for psychic researches of the American government discovers that his own son and a girl are being sought by terrorists who want to use their mind's powers.Narrative conducted in an agile and suffocating way by the veteran De Palma, responsible for equally violent and full of action classic such as "The Untouchables". In this thriller marked by a great dramatic charge, the excellent supporting cast's work ( beginning with Carrie Snodgress,who has the most shocking, unpleasant and courageous scene , and with Charles Durning, who shows talent in a serious part, different from the characters that made his fame:he became well-known for doing partner's roles in some Burt Reynolds' movies, but here he offers a discreet, silent interpretation) sustains the interest for this confused but well developed and touching story. As already demonstrated in his previous works, the violence in De Palma's films is never gratuitous, however it is always true and raw.

Before "Scanners" there was this wonderful little gore fest from Brian De Palma, who all-ready had done such great Hitchcock-like thrillers as "Sisters" and "Obsession" and of course "Carrie", which in many ways is related to this one, another tale of telekinesis with deadly results. It is also worth noting that David Cronenberg's above-mentioned "Scanners" seem to owe a great deal to this movie.

"The Fury" balances brilliantly between weird and unexpected comedy (like the whole scene where Douglas carjacks two off-duty cops, one played by Dennis Franz!) and imaginative horror that will turn off anyone who hates blood. Great acting from everyone; worth noting the star-making performances of Amy Irving and Andrew Stevens, Douglas who has a field-day, Cassavetes who looks great as the sinister bad-guy and Carrie Snodgress who will touch your heart with her performance as the caring nurse Hester.

The last scene is quite a kick, truly one of the most memorable finales ever shown on screen, and it could very well leave you cheering well into the end credits!

He was 62 when he made this 'nice' version of Scanners! The clothes and haircuts carry more scares than the story in this very 70s film. Call it an entertaining watch.

Peter Sandza (Kirk Douglas) is happily holidaying with his son Robin (Andrew Stevens), when he is betrayed by his lifelong friend Ben Childress (John Cassavetes). He is attacked by missionaries with machine guns, only to kill a few himself before apparently being blown up. Ben escapes with Robin, a boy Ben believes to have a powerful telekinetic and psychic ability. As Peter begins his frantic search, fellow psychic Gillian (Amy Irving) is admitted to the Paragon Clinic under the supervision of Dr. McKeever (Charles Durning), who may be linked with Robin's disappearance. As Gillian's power becomes stronger, she feels a connection with Robin, just as Peter comes close to discovering the whereabouts of his son.

Brian De Palma's career is somewhat of a mixed bag. Highly influence by Hitchcock, his films are packed with homages and winks to a wide range of classic movies. He was prolific with his quality output in the 70's and 80's (Blow Out, Carrie, Scarface, Dressed To Kill), but his late 80's through to the present have been littered with the dodgy and the dire (Casualties Of War, Mission To Mars, The Bonfire Of The Vanities, The Black Dahlia), albeit with a few decent films (Carlito's Way, The Untouchables, Mission: Impossible). 1978's The Fury, made just two years after the similarly-themed Carrie, lurks somewhere in between his very best and his worst.

Where Carrie announced the arrival of a potentially brilliant horror/thriller director, with its high tension, gore-drenched climax, and that jump ending that bred a thousand horror copycats, The Fury tackles the same supernatural themes, but just comes off as a bit silly. One half a badly staged action film, with an old Kirk Douglas outwitting a mass of secret agents, and one half a nicely plotted, but rather unspectacular supernatural horror. Although there are few glimpses, it certainly lacks De Palma's knowing cinematic style, best displayed in balls-out Hitchcock homage Dressed To Kill.

Although the film is sporadically entertaining, it's about twenty minutes too long, and seems to slow down to a snail's pace in the middle. It takes too long developing a story which is pretty straightforward, and characters that aren't particularly interesting. However when the climax comes, it's a lot of fun, and is just mad enough to save the film. I don't recall ever seeing a man exploding repeatedly from so many angles before, which is always a bonus. It literally happens about fifteen times. For a more defining telekinetic/exploding bodies film, seek out Scanners.

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