Fury

Sacrifice is a part of any war, and therefore any decent war movie. As an ambitious tribute to battlefield heroism and camaraderie, Fury has plenty of characters sacrificing themselves for the cause. But on the script level, it too often sacrifices substance in favor of spectacle.

The title comes from the name of a Sherman tank used by the remnants of an American platoon that’s already been decimated by losses as it navigates through Germany in the waning days of World War II.

As the film opens, the crew of four men led by the ruthless sergeant known as Wardaddy (Brad Pitt) is joined by a timid assistant driver (Logan Lerman) whose secretarial experience hardly makes him a fit on the front lines. But he’s thrown into the fire anyway, as the tank powers from one mission to the next despite being outmanned behind enemy lines.

During the next 24 hours, the beleaguered soldiers reveal both their dedication to eradicating the Nazis and their internal struggles with regard to the task at hand — including pious gunner Swan (Shia LaBeouf), loudmouthed loader Travis (Jon Bernthal), and contemplative driver Garcia (Michael Pena).

With its lack of real-life inspiration or much in the way of character backgrounds or historical context, Fury doesn’t add much to the extensive legacy of cinematic war. We’ve seen much of this before, from the battlefield brutality, to the need for resourcefulness and emotional detachment, to the “band of brothers” mentality. In fact, the premise recalls the superior Lebanon (2009), which took place entirely inside the claustrophobic confines of a tank.

The screenplay by director David Ayer (End of Watch) knows its way around the titular vehicle, including its terminology, procedures, and personnel. Yet despite some scattered powerful moments, it has all the subtlety of a cannonball or a landmine. Ayer is more concerned with visual flourishes and Peckinpah bravado. He doesn’t shy away from blood and explosions in some potent battle sequences.

Pitt offers a commanding presence, yet by the end, the film can’t decide whether it wants to be a battle epic or a wartime melodrama. The result doesn’t leave much room for emotional resonance, and sometimes feels more like watching a really intense game of Call of Duty than its intended gritty portrait of the horrors of war.

Rated R, 134 minutes.