The Scene from 'Fury' That Drives Pansy-Assed Progs Into the Arms of Their Metrosexual Mommies

If you think "Fury" represents the vision of war that victimizes its soldiers, turns them into hulking carcasses of PTSD, consigning them to a life of depression, ever sulking from their committal of human rights "abuses," then you might be a pacified progressive, brain-addled pansy-assed leftist loser --- like the sorry specimen of a man David Edelstein, at the spineless far-left outlet the Vulture, "David Ayer Represents the Best and Worst of American Filmmaking With His WWII–Set Fury."

Exhibit A in this pussified case study of the pathetic progressive pacifist oeuvre: Edelstein's response to the summary execution scene in which Don "Wardaddy" Collier (Brad Pitt) forces Norman Ellison (Logan Lerman) to shoot a f-king Nazi in the back. Watch, "I Cant Do It":



And here's Edelstein at the review:

The scarred, leather-faced tank commander, Don “Wardaddy” Collier (an aggressively deglamorized Brad Pitt), butchers a solitary German officer rather than take him prisoner [in the opening scene]. A short time later, he not only decides to shoot an SS man who surrenders to him, but he forces — in an excruciatingly prolonged scene — a jittery clerk-typist, Private Norman Ellison (Logan Lerman), to pull the trigger. “Don’t make me do this!” weeps Ellison as Collier slaps him and wrestles him into position to fire a bullet into the head of a man who has pulled out photos of his wife and children and is begging for his life. And then — blam!

"Weeps Ellison." OMG terrible. Just terrible!

An American master sergeant deep into enemy territory --- in Germany in 1945! --- who actually kills Germans! And one who actually makes his grunts kill Germans --- lest they kill him! The horrors!

Remember, leftists turn soldiers into victims. The actual fighting of enemies is "dehumanizing." Never mind that World War II's campaign against the Nazis is probably the closest you're going to get of good fighting evil in the history of modern warfare. The old saw goes "War is hell" for a good reason. And more than any other war movie in recent times --- and some are saying more than any other war movie ever made --- "Fury" displays the unvarnished truth of men in combat, and the nobility of fighting for what's right, even in the face of impossible odds.

I've read a lot of reviews of this film --- pretty much everything that's been written on it, frankly --- and plenty of reviewers are horrified by the sheer brutality of David Ayer's production, using such words as "psychotic" to describe Brad Pitt's "Wardaddy" (John Anderson, at the Wall Street Journal, "‘Fury’ Fueled by Fear") or "hot air" to describe "Wardaddy's" view that "Ideals are peaceful — history is violent" (Ty Burr, at the Boston Globe, "‘Fury’ takes on WWII, with Brad Pitt in command").

More than anything, pacified leftists are terrified that people might in fact consider the unflinching moral clarity of an earlier era far superior to the criminal cowardice of the left's contemporary reign of political correctness.

See the review at The Truth About Guns, for example, "Movie Review: Fury":

Here’s the long and short of it: Fury is probably the best Hollywood WW2 movie since “Saving Private Ryan.” It has courage. It has heart. It is intentionally upsetting. It has unrelenting battle scenes that will have you on the edge of your seat and more than slightly repulsed at the carnage. It has an underlying message of resistance to evil, devotion to faith and ethics that viewers can accept or ignore. The film works as Grand Guignol just as well as it works as a religious statement.

Fury left me deeply moved and more admiring than ever of the Greatest Generation. More than anything, it left me shaking my head about the nation we have become, and how we became such a pale imitation of what we once were.

Word, brother. Mother f-king Word.