Furie

A man discovers that his telekinatic son has been kidnapped and is being exploited for his powers. He seeks the help of a young woman who has similar powers to help him locate his son, but it might be too late, because with each growing day he becomes more violent and out of control.

Ambitious horror/suspense film is perhaps one of the scariest, most disturbing and violent films ever released into mainstream America. It reaches tremondous heights for a film in this genre, because of the terrific performances from everybody in the entire cast, top notch direction, superb score, and sensational editing that keeps things tight and never lets the suspense to ever lag. A masterpiece for the horror genre and one of De Palma's best.

Rated R; Extreme Graphic Violence, and Profanity.

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 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

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.

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.