Samuel Maoz
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Lacking the single-minded intensity of Samuel Maoz’s Lebanon , which did a cleaner job of trapping its audience inside a tank, this is still undeniably stirring stuff, buoyed by Steven Price’s boisterous score which builds toward an end-credits theme reminiscent of Jerry Goldsmith’s demonic Ave Satani from The Omen .
In fact, the premise recalls the superior Lebanon (2009), which took place entirely inside the claustrophobic confines of a tank.
It's this part of the drama that most closely resembles Samuel Maoz's 2009 Israeli film Lebanon, which detailed what it's like for men to occupy a fetid, claustrophobic metal vault on wheels while being bombarded by hard-to-see foes.
There was more clammy tension in two minutes of Lebanon, the gripping 2009 film set entirely inside an Israeli tank, than there is in the whole of Fury.
Echoing Samuel Maoz’ Lebanon, Fury is a movie about a lone tank and the soldiers who man it.
Fury doesn’t come close to the achievement of those edifying cinematic ordeals, let alone to Samuel Maoz’s harrowing Israeli film Lebanon , which summoned a claustrophobic psychopathy by setting virtually all its action inside an Israeli tank.
Incendies may cover similar literal territory to Samuel Maoz’s 2009 Golden Lion-winner Lebanon, but there’s also a sense of almost trashy, coincidence-based melodrama at work here that’s not usually seen in sombre, sectarian-issue dramas of this kind.