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The Fury (Blu-ray)


Price: $52.95 & FREE Shipping. Details
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Product Details

  • Region: All Regions
  • Studio: Twilight Time
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (83 customer reviews)
  • ASIN: B00BOWOBTO
  • Amazon Best Sellers Rank: #82,882 in Movies & TV (See Top 100 in Movies & TV)

Editorial Reviews

Director Brian DePalma's follow-up to "Carrie" (1976), The Fury (1978) tells the tale of two psychically gifted young people, Gillian (Amy Irving) and Robin (Andrew Stevens), manipulated by a soulless government agent (John Cassavetes) while the boy's CIA agent father (Kirk Douglas) attempts to rescue them. Featuring superb cinematography by Richard H. Kline (Body Heat) and a superlative score from the one and only John Williams, available on this release as an isolated track.

Customer Reviews

This is a very well done movie for the time that it was filmed.
D. Jeter
This film has so many scenes of utter amazement, with DePalma putting his trademark touches throughout, that you can feel your jaw drop every five minutes or so.
R. A. Bean
Yup, I had to go back and count it, it was so bad... THIRTEEN TIMES.
Nick Trojan

Most Helpful Customer Reviews

28 of 30 people found the following review helpful By Libretio on October 9, 2001
Format: DVD
THE FURY

(USA - 1978)

Aspect ratio: 1.85:1
Theatrical soundtrack: Mono

Dismissed at the time of its initial release as a mishmash of themes and genres, time has been kind to THE FURY, Brian De Palma's visually spectacular adaptation of the novel by John Farris. An ex-government agent (Kirk Douglas) seeks the help of a young girl (Amy Irving) with incredible psychic abilities to help locate his son (Andrew Stevens), who has extraordinary powers of his own and has been kidnapped by an ultra-secret organization who plan to use his talents for their own sinister purposes.

Farris' own script has a neat symmetry, encompassing Middle Eastern terrorism, government conspiracies, psychic horror, and a series of Grand Guignol death scenes, orchestrated to a turn by De Palma whose growing confidence as a filmmaker sees him fully engage with the concept of Pure Cinema which has characterized much of his work ever since.

Highlighted by John Williams' magnificent score (a genuinely eerie composition, one of the best of his career), the film opens slowly, builds momentum, and culminates in a breathtaking sequence which closes the movie on a note of screaming hysteria (the final thirteen shots have been celebrated and vilified in equal measure by disbelieving audiences ever since the movie first opened!). De Palma's technical precision is matched by his excellent cast, including John Cassavetes, Charles Durning and Carrie Snodgress, all of whom loan these outrageous proceedings a gravity which lesser actors might have scorned. Look quickly for a very young Daryl Hannah in an early pre-stardom role.
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15 of 17 people found the following review helpful By R. Penola on February 5, 2000
Format: VHS Tape
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. John Williams' dense and lyrical score adds a mesmerizing dimension to the increasingly gory proceedings...And the finale is supremely satisfying.
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7 of 7 people found the following review helpful By J. Wingenfeld on March 23, 2013
Format: Blu-ray
De Palma has admitted that he lifted a lot of his technique from Hitchcock, defiantly stating that no one did it better than Hitchcock and every filmmaker in his wake has done the same thing, only he had the balls to admit it. Nowhere does he display his mastery of Hitchcock's visual trickery better than in THE FURY, a fiercely original supernatural thriller and one of the most unfairly forgotten cinematic classics of the 70s.

At the time, critics wrote THE FURY off as a cheap knock-off of CARRIE. Other than the fact that both deal with teens who possess telekinetic powers, the movies have very little in common. While CARRIE is a full-fledged horror movie, THE FURY is a thriller with few horror elements. There's some gore, a few creepy moments, but mostly it's espionage and spy vs. spy, only everyone is after psychic kids instead of microfilm.

De Palma effortlessly weaves stylistic set-pieces into the narrative, creating suspense, atmosphere and a surreal eeriness to the proceedings. Simple actions like two characters in separate locations scraping their fingernails on a wall and chair respectively speak volumes. De Palma's camera is almost always moving, flowing like a phantom around rooms. When it is static, the angle is usually so oppressive it creates a sense of claustrophobia. Characters are given moments to ponder the hopelessness of their situation (even the bad guys garner some sympathy for allowing themselves to be backed into a corner) and the photography reflects it powerfully.

Speaking of bad guys, John Cassavetes plays one of the screen's most ruthless villains, a man who will do anything to accomplish his job, untroubled by conscience or morality.
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16 of 19 people found the following review helpful By Rodney Welch (philostrate@hotmail.com) on April 9, 1999
Format: VHS Tape
Pleasure yes, but hardly a guilty one. This is De Palma's most staggering display of moxie -- his attempt to out-Hitchcock Hitchcock at every turn. Oh sure, the story's kind of a "Carrie" retread, and the plot doesn't make perfect sense, but who cares? This movie is an exercise in sheer technique, nowhere on display more than the classic ending -- a spewing, multi-angle Grande Guignol spectacle that gives nothing but satisfaction. My favorite actor, John Cassavetes -- maybe the only villain in film history who keeps his broken arm in a black sling -- plays it for all it's worth. This is a gloriously bloody movie.
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