Despite being hampered by a script that regulates everyone but Collier and Ellison to skin-deep characterizations, the actors make the absolute most of it, bringing depth to characters that could very easily have been one-note portrayals. Every member of the cast is at the top of their game here, even LeBeouf, whose well-documented public meltdowns feel like a distant memory. A bath, a shave, and a nice dinner are a welcome respite from the day's butchery, but it's the second half of this sequence that truly shows how even the best of men can be transformed by the horror of war. The film takes an interesting turn at this point, allowing the audience a glimpse into the exhaustion and sadness behind Collier's rugged exterior. Collier even takes Ellison with him to explore an American-occupied village, and the two stumble upon a small apartment and its two female tenants.
But after proving his mettle during a nail-biting engagement with a superior German tank, Ellison gets the seal of approval from the rest of the boys. The kid is an unknown, a variable they hadn't anticipated, and viewed as little more than a liability. But these soldiers are bound together by the sort of brotherhood that can only exist between men who have seen combat together: each is more than willing to die for the other, and the introduction of Ellison into their group is met with a hefty amount of resistance.
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And what a unit it is, a motley crew of the highest order, comprised of a deeply religious gunner (Shia LeBeouf), a pugnacious redneck with a severe mean streak (Jon Bernthal), and a driver (Michael Pena) who drowns the filth and death in bottle after bottle of whatever booze he can find.
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Ellison is quite literally forced to shun his own moral code and forsake any shred of humanity he still clings to, because Collier knows that if he doesn't, everyone in the unit will be dead. During one of the film's early battle sequences, Ellison hesitates just long enough for tragedy to occur, and his subsequent brow-beating by Collier is followed by one of the most frightening and gut-wrenching scenes ever depicted in a war film. He's a fierce figure who inspires confidence and loyalty among his men, who affectionately refer to him as "Wardaddy." But he's also terrifying to someone like Ellison, who finds himself woefully unprepared for the demands of his new vocation. Collier offers no other thoughts on the subject, having already forgotten about the previous battle and instead thinking about the skirmishes yet to come. Ellison has spent most of the war behind a desk, hammering out correspondence at 60 words per minute, but over the last few hours he's been gunning down Nazis in spectacularly gory fashion, and he's struggling to make sense of the carnage.
Despite having no combat training to speak of, Ellison has been assigned as the new assistant driver of Fury, the Sherman tank that Collier and his men call home. Don Collier, are meant to bring some level of comfort to Norman Ellison (Logan Lerman), the young man who found himself snatched unceremoniously out of the clerk's office and placed under Collier's command in the final days of WWII. History is violent." These words, delivered by Brad Pitt's scarred and battle-weary Sgt.
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