Put the witch to the wall! Pay close attention, a fan of the “Evil Dead”: before you, a semi-dumpster ribbon formed on naked enthusiasm, perfectly close to the very creation of Raimi, about which it is customary to speak exclusively in excellent degrees. She, of course, does not catch up with the highly venerated Dead in effectivity and especially atmosphericity, but the stylistic and conceptual similarity of both works is more than obvious, which automatically makes this product twice as pleasant as it really is. The forest (it does not matter that it is winter) and the hut (it does not matter that it is twice as small), foolishly defended by a handful of people, cobble together a charmingly familiar setting, and borrowings do not imply theft of certain thin. techniques (here they even try to treat the camera as a ZM), but are seen as a tribute to the Raymian classics, which is directly hinted at by the Evil Dead II poster stuck to the wall of the dwelling and a bonus set of no less transparent references to the object of worship. At the same time, “Fury” of course looks much less chambered than the ZM, and the local characters are much more actively scouring the surrounding area, thereby reducing their numbers faster.
The beginning of the action may seem dull and suspiciously serious, but this is false: the film is orthodoxly thrashy (the distributor is the Troma, by the way) and is designed solely for the entertainment of his (and only his!) viewer: loyal, finicky, understanding the banter and able to accept it complacently. And the main gift for such an individual becomes a damn bright for zero budget special-effect mix, ranging from fun toy animatronics and stop-mouse (shot with incredible love, by the way) to old-school combined shooting and easy eight-costal computer in the final.
Of course, everything is not as rosy as it may seem. “Fury” can hardly be called superdynamic, tense or plot fascinating, closer to the denouement, the pace is lost, noticeable hangings and brakes are added, aggravated by the amorphous script and the presence of not very necessary scenes like black and white TV news. Add the boredom and monotony of the dialogues trampling on the spot (heart-wrenching stories about a cat and a snowman look good, but at the same time the sacramental phrase “We need to get out of here!” is heard almost every five minutes), we notice some strange failures in terms of makeup and gunshot, generously silent about acting, yawning on a gray and banal ending – and return to the same starting position about the simple amateur character of the work.
The most ambiguous point here, perhaps, looks like a musical decision, since there are unbearably many songs in a wide multi-genre coverage, and the specificity is that some of them continue to play in radio mode even during conversations between characters (moreover, sometimes they are specifically included in these moments). In some places, the inadequacy of this approach brings an interesting trance effect (see the coffin episode, for example), but more often it is elementary distraction, allowing music to hammer the picture and characters. And also about music: in one of the main roles you can see the most talented man, now the late guitarist Iggy Pop Ron Ashton (the link to The Stooges by the way flashes in one of the dialogues).
In short, in addition to the old raimi fans, it is recommended first of all to connoisseurs of creative thrash works, made what is called “with a light”, the average viewer can throw this, to put it mildly, not very pretentious movie into the furnace without looking.
6.5 out of 10