Fury Full Movie Hd 1080p Download
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April, 1945. As the Allies make their final push in the European Theatre, a battle-hardened Army sergeant named Wardaddy commands a Sherman tank and his five-man crew on a deadly mission behind enemy lines. Outnumbered, out-gunned, and with a rookie soldier thrust into their platoon, Wardaddy and his men face overwhelming odds in their heroic attempts to strike at the heart of Nazi Germany.
A grizzled tank commander makes tough decisions as he and his crew fight their way across Germany in April, 1945.
Obviously a film for children. Historically inept and if you believe a crack SS battalion would take that long to get into position and lost so many men to one disabled tank the War would have finished in September '39. Unfortunately they weren't and it didn't. Rubbish like this does a huge disservice to the men who fought. It might be worth pointing out the preamble, obviously written after someone had been down the pub, had nothing to with the rest of the film. (Spoiler alert) I'm also fascinated as to how the special effects team thought that dropping two grenades into a turret would leave the hero elegantly dead and not ripped to shreds. I could go out about all sorts of other historical ineptitude but accuracy was obviously a long way down the list of film-making requirement, a great pity as rubbish like this will be served to future generations under the guise of 'education'.
War is nasty business, and David Ayer has no intention of making it any less so in Fury, his bruising, dark and very violent World War Two drama. It's easy to be caught up in the fast, furious action of it: Ayer liberally peppers the film with explosions and gore. But that's not all there is to the film. While Ayer does lose track of it at a few points along the way, Fury, at its best, digs into some bitter and very hard truths about the sacrifice and loss - of blood, of life, of innocence - that must accompany a war, even one fought for a genuinely good cause.
The action and the narrative revolve around 'Fury', a five-man tank commandeered by Don 'Wardaddy' Collier (Brad Pitt). He's promised the men who serve with him - Bible (Shia LaBeouf), Gordo (Michael Pena) and Grady (Jon Bernthal) - to get them through the war alive. When they complete a mission that took out the rest of the platoon of tanks, the men meet their new assistant driver: Norman (Logan Lerman), a sweet young man who trained as a clerk and is painfully ill-suited for the rigours and demands of battle. Nonetheless, they are forced to become a unit and, finally, a team, as Fury trundles across Germany to free trapped American soldiers, capture towns, and cut off a battalion of top-notch SS soldiers.
Fury can be roughly divided into three acts, the first of which is easily the best and most thought-provoking. Many war movies set during World War Two are infused with at least a hint of nostalgia and romance - it's what naturally accompanies the notion that the Allies are fighting to free the world from the uncomplicated evil of Nazi Germany.
But Fury resolutely refuses to take that route. This is a film that stares the cold, hard nature of war in the face, and highlights the callous way in which it strips morality and innocence even from men who, as history tells us, are fighting on the right side. As the titular tank makes its way back to camp and out again, it becomes clear that the Allied soldiers are beaten and worn down by battle, their bodies and spirits caked in mud, blood and cynicism. The tanks roll over the corpses of the dead, pressing them - forgotten and lost - into the welcoming ground. It's a startlingly bleak picture to paint of the realities of the situation, one which highlights to an almost unbearable degree the monsters that are made in war: of men who have had to get used to killing nameless others as long as they're on the other side.
Less successful is the film's strange second act, set in a hollowed-out town 'freed' by the Americans. With Norman in tow, Don enters the apartment of an understandably edgy German woman, where the two find hot water, food and other bodily comforts. Shorn of the gory violence of the rest of the film, this segment feels strangely stagey: the characters are trapped in the oddest of situations, soldiers and civilians, enemies or friends, sat awkwardly around a dining table or in the bedroom. There are moments of almost heartbreaking insight: Don peeling off his shirt to reveal the wounds of battles past, or opening a box in which he's carefully stored precious items for a moment just like this one. But it also feels rushed and a bit silly, as Norman grows up off the battlefield and their fellow tank-mates turn up for some uncomfortably confrontational moments that should but don't quite pass for character development.
Ayer devotes the final act to a bloody, bitter battle, fought from within and around the tank in a bid to prevent SS soldiers from clashing with the Allied forces. It's a powerful climax, crammed full of incident and devastation, as each member of this ragged, raw team - a dysfunctional family, with Wardaddy as the patriarch - chooses whether to fight, and then must decide how they want to die. It manages to be rousing and repelling all at once, as bullets fly and grenades stir up mist and blood that paints itself across the tank. Indeed, Ayer makes it almost exhausting to watch, especially when the sequence goes on and on for just a little too long.
The cast is uniformly excellent. Pitt leads the charge with an electric performance, one that makes it possible to believe the hell Don has gone through to ensure his tank-mates can live. In a moment when he shrinks to the ground, tears shuddering out of him before he reins it all in again, you get a clear picture of the scars this man bears that can't be seen. Lerman again proves that he's a great actor outside of the Percy Jackson franchise, with a quite devastating array of shell-shocked reactions to the horrors Norman is forced to witness and commit. LaBeouf contributes unexpected gravitas in a tricky role but makes his character's constant reference to scripture something complex instead of potentially frustrating. Pena and Bernthal have less to do, but they both convince with the depth of their respective amiability and hostility towards Norman. In Bernthal's character, especially, it's possible to see that men who are not themselves strictly 'good' can fight for good causes too.
Is Fury one of the great war movies? Probably not. On occasion, it approaches magnificence in its depiction of the wear and tear of war - even for the eventual victors of the conflict. But, for every spine-chilling insight it provides into the monsters made of men in the heat of battle, the film also wanders off in odd directions - particularly in a middle section that feels deeply out of place and hugely rushed. That makes for rewarding, challenging but also frustrating viewing.
The film itself is a lumbering tank of a movie, chunky, loud, and clumsy, mulching down men into meat as proof of its dramatic seriousness and gloomy worldview.
His tank was the first one destroyed in the battle with the Tiger tank. These are not laser beams, they are "tracer rounds". They are typically loaded in machine guns and tank shells as a way to determine where the rounds are actually firing. Should they miss, you can adjust your aim accordingly by watching the direction the round is firing. The average lifespan can't really be confirmed. But it is a generalization that Allied tank crews suffered heavy losses at the hands of the superior German armour, which is true. The Sherman tank was used by the Allies in every theatre of World War 2 and was famed for its speed, maneuverability, reliability, ease of mass production and ease of repair/maintenance. However, its' initial 75mm, and later on 76mm gun, was generally incapable of penetrating the main armour of its' German counterparts, the Panther, Tiger 1E, and later King Tiger. The Panther's high-velocity 75mm gun, and the Tiger and King Tiger's 88mm gun (initially designed for anti-aircraft roles) could easily defeat the Sherman's armoured protection, as could German infantry anti-tank weapons. The Sherman's high profile also made it comparatively easy to spot, and its' use of a petrol (gasoline) engine gave it an unfortunate propensity to burst into flames when hit. British and Canadian troops nicknamed them 'Ronsons' due to this fact in reference to a brand of cigarette lighters that are guaranteed to 'Light every time'. The Germans rather more bluntly referred to them as 'Tommy cookers'. The German tanks also used petrol engines, but one model of the Sherman, the M4A2, did use a diesel engine, but most of its production went to the US Marines in the Pacific, and the Russians.
You can find the armor stats for almost any armored fighting vehicle in history online. Look up the Tiger I, King Tiger, and the Panther; both later models had sloped armor which greatly added to deflecting armor piercing rounds, compared that with the Sherman. It was simply pitiful for the General in charge of Ground Forces, Lesley McNair, to be allowed to send so many soldiers into battle in such an inferior weapon, that was practically obsolescent after the introduction of the Tiger. But the Sherman was designed as an infantry support tank, not a tank-vs-tank unit, like its German opponents (and most modern-day 'main battle' tanks).
Generally, German tanks were technically superior to Allied tanks. The problem the Germans had was that with a war on two fronts, and heavy Allied bombing, they simply couldn't produce the tanks quick enough. Their tanks were also over-engineered, and units produced towards the end of the war tended to break down too easily. Additionally, on the last year, they also ran out of manpower to crew the tanks. The Tiger tank was a heavy tank at 54 tonnes, versus the Sherman at 30-33.5 tonnes but (as shown by the film) it could only be knocked out by the Sherman's cannon at close quarters, from the side or behind where the armor was thinner. The Sherman could also do it with the specialized 76mm High-Velocity Armor-Piercing ammunition (type M93 HVAP) but this was in very limited supply, and priority went to the M36 'Jackson' and other tank destroyers. Battlefield comments from Normandy onwards showed that on average it took the loss of 7 Shermans to knock out one Tiger tank. The US did, however, have a lot more tanks than the Germans. The German antitank weapon called the Panzerfaust (seen in the film, being pulled from its packing crates in the darkness) was also greatly feared by Allied tank crews. The one-shot LAW-type device had a hollow charge and could knock out any Allied tank at close range (the Panzerschreck was a heavier reloadable bazooka-like weapon). During the last months of the war in Europe, the Allies also had greatly superior air power as well and this helped to negate the tank advantage on the ground that the Germans had. The film showcases the Sherman's main strengths in combat - bristling with machine guns (including the powerful .50 M2HB, nicknamed the 'Fifty' or 'Ma Deuce') and its maneuverability, which made it an excellent infantry support weapon.
Its interesting to note that the tanks shown in the movie were a mixed bag: 'Fury' was an M4A2E8 (76)W HVSS Sherman tank, and 'Lucy Sue' an M4A2 Sherman, but as you don't see the engine decks, so for sake of the story, they could be mistaken for petrol-fueled units (the A2's carried a diesel powerplant. 'Matador' is an M4E8 (76)W HVSS Sherman, 'Murder, Inc.' an M4A4 Sherman, and 'Old Phyllis' an M4A1 (76)W Sherman. All but Lucy Sue were later 'W' or wet-stowage ammunition types, and only Matador and Fury had the main gun capable of doing serious damage to the Tiger, and the later HVSS wide suspension track system. They carefully did not use the up-gunned British Shermans, which got a powerful 17-pounder QF gun of equivalent calibre to the 76mm, but with considerably more penetration - this Sherman was called the Firefly. a5c7b9f00b
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