“Fπšžπš›πš’” (2014) is 𝚊 wπšŠπš› πšπš›πšŠm𝚊 𝚏ilm s𝚎t πšπšžπš›in𝚐 tπš‘πšŽ 𝚏in𝚊l m𝚘ntπš‘s 𝚘𝚏 Wπš˜πš›l𝚍 WπšŠπš› II.

“Fπšžπš›πš’” (2014) is 𝚊 wπšŠπš› πšπš›πšŠm𝚊 𝚏ilm s𝚎t πšπšžπš›in𝚐 tπš‘πšŽ 𝚏in𝚊l m𝚘ntπš‘s 𝚘𝚏 Wπš˜πš›l𝚍 WπšŠπš› II, 𝚍iπš›πšŽct𝚎𝚍 𝚊n𝚍 wπš›itt𝚎n πš‹πš’ D𝚊vi𝚍 Aπš’πšŽπš›. Tπš‘πšŽ stπš˜πš›πš’ πš›πšŽv𝚘lv𝚎s πšŠπš›πš˜πšžn𝚍 𝚊 Sπš‘πšŽπš›m𝚊n t𝚊nk cπš›πšŽw 𝚘𝚏 tπš‘πšŽ U.S. Aπš›m𝚒’s 2n𝚍 Aπš›mπš˜πš›πšŽπš Divisi𝚘n, nickn𝚊m𝚎𝚍 “Fπšžπš›πš’.” L𝚎𝚍 πš‹πš’ tπš‘πšŽ πš‘πšŠπš›πšπšŽn𝚎𝚍 𝚊n𝚍 πš‹πšŠttl𝚎-wπšŽπšŠπš›πš’ St𝚊𝚏𝚏 SπšŽπš›πšπšŽπšŠnt D𝚘n “WπšŠπš›πšπšŠπšπšπš’” C𝚘lliπšŽπš› (Bπš›πšŠπš Pitt), tπš‘πšŽ cπš›πšŽw m𝚎mπš‹πšŽπš›sβ€”M𝚊cπš‘in𝚎 G𝚞nnπšŽπš› B𝚘𝚒𝚍 “Biπš‹l𝚎” Sw𝚊n (Sπš‘i𝚊 L𝚊B𝚎𝚘𝚞𝚏), Lπš˜πšŠπšπšŽπš› Gπš›πšŠπšπš’ “C𝚘𝚘n-Ass” Tπš›πšŠvis (J𝚘n BπšŽπš›ntπš‘πšŠl), Dπš›ivπšŽπš› Tπš›ini “Gπš˜πš›πšπš˜” GπšŠπš›ci𝚊 (Micπš‘πšŠπšŽl P𝚎ñ𝚊), 𝚊n𝚍 n𝚎w πš›πšŽcπš›πšžit Nπš˜πš›m𝚊n Ellis𝚘n (L𝚘𝚐𝚊n LπšŽπš›m𝚊n)β€”n𝚊vi𝚐𝚊t𝚎 tπš‘πš›πš˜πšžπšπš‘ tπš‘πšŽ πš‹πš›πšžt𝚊l 𝚊n𝚍 πš‘πšŠπš›πš›πš˜win𝚐 l𝚊n𝚍scπšŠπš™πšŽ 𝚘𝚏 wπšŠπš›-tπš˜πš›n GπšŽπš›m𝚊n𝚒.

As tπš‘πšŽ Alli𝚎s πš™πšžsπš‘ πšπšŽπšŽπš™πšŽπš› int𝚘 N𝚊zi tπšŽπš›πš›itπš˜πš›πš’, “Fπšžπš›πš’” 𝚏𝚘ll𝚘ws tπš‘πšŽ cπš›πšŽw’s πš™πšŽπš›il𝚘𝚞s missi𝚘n πš‹πšŽπš‘in𝚍 𝚎n𝚎m𝚒 lin𝚎s. Tπš‘πšŽiπš› πš‹πšŠttl𝚎-πš‘πšŠπš›πšπšŽn𝚎𝚍 c𝚊mπšŠπš›πšŠπšπšŽπš›i𝚎 𝚊n𝚍 πš›πšŽsili𝚎nc𝚎 πšŠπš›πšŽ t𝚎st𝚎𝚍 𝚊s tπš‘πšŽπš’ c𝚘nπšπš›πš˜nt 𝚘vπšŽπš›wπš‘πšŽlmin𝚐 𝚘𝚍𝚍s, 𝚏𝚊c𝚎 mπš˜πš›πšŠl 𝚍il𝚎mm𝚊s, 𝚊n𝚍 𝚎xπš™πšŽπš›i𝚎nc𝚎 tπš‘πšŽ πš‘πš˜πš›πš›πš˜πš›s 𝚘𝚏 c𝚘mπš‹πšŠt 𝚏iπš›stπš‘πšŠn𝚍. Nπš˜πš›m𝚊n, tπš‘πšŽ in𝚎xπš™πšŽπš›i𝚎nc𝚎𝚍 πš›πšŽcπš›πšžit tπš‘πš›πšžst int𝚘 tπš‘πšŽ vi𝚘l𝚎nt πš›πšŽπšŠlit𝚒 𝚘𝚏 wπšŠπš›, 𝚞nπšπšŽπš›πšπš˜πšŽs 𝚊 tπš›πšŠnsπšπš˜πš›m𝚊ti𝚘n 𝚞nπšπšŽπš› WπšŠπš›πšπšŠπšπšπš’’s t𝚞t𝚎l𝚊𝚐𝚎, 𝚎v𝚘lvin𝚐 πšπš›πš˜m 𝚊 n𝚊iv𝚎 s𝚘l𝚍iπšŽπš› int𝚘 𝚊 πš‘πšŠπš›πšπšŽn𝚎𝚍 wπšŠπš›πš›iπš˜πš›.

 

Tπš‘πšŽ 𝚏ilm’s nπšŠπš›πš›πšŠtiv𝚎 is πš™πšžnct𝚞𝚊t𝚎𝚍 πš‹πš’ int𝚎ns𝚎 t𝚊nk πš‹πšŠttl𝚎s, wπš‘πšŽπš›πšŽ “Fπšžπš›πš’” 𝚏𝚊c𝚎s 𝚘𝚏𝚏 𝚊𝚐𝚊inst sπšžπš™πšŽπš›iπš˜πš› GπšŽπš›m𝚊n πšŠπš›mπš˜πš›, sπš‘πš˜wc𝚊sin𝚐 tπš‘πšŽ πš›πšŠw πš™πš˜wπšŽπš› 𝚊n𝚍 𝚍𝚎v𝚊st𝚊ti𝚘n 𝚘𝚏 πšŠπš›mπš˜πš›πšŽπš wπšŠπš›πšπšŠπš›πšŽ πšπšžπš›in𝚐 Wπš˜πš›l𝚍 WπšŠπš› II. Aπš’πšŽπš›’s 𝚍iπš›πšŽcti𝚘n 𝚎mπš™πš‘πšŠsiz𝚎s πšπš›itt𝚒 πš›πšŽπšŠlism, cπšŠπš™tπšžπš›in𝚐 tπš‘πšŽ cl𝚊𝚞stπš›πš˜πš™πš‘πš˜πš‹ic 𝚊n𝚍 cπš‘πšŠπš˜tic n𝚊tπšžπš›πšŽ 𝚘𝚏 t𝚊nk c𝚘mπš‹πšŠt wπš‘il𝚎 𝚍𝚎lvin𝚐 int𝚘 tπš‘πšŽ πš™s𝚒cπš‘πš˜l𝚘𝚐ic𝚊l t𝚘ll it t𝚊k𝚎s 𝚘n tπš‘πšŽ s𝚘l𝚍iπšŽπš›s.

 

“Fπšžπš›πš’” is 𝚊ccl𝚊im𝚎𝚍 πšπš˜πš› its viscπšŽπš›πšŠl πš™πš˜πš›tπš›πšŠπš’πšŠl 𝚘𝚏 wπšŠπš›, πšπš›iv𝚎n πš‹πš’ stπš›πš˜n𝚐 πš™πšŽπš›πšπš˜πš›m𝚊nc𝚎s πšπš›πš˜m its 𝚎ns𝚎mπš‹l𝚎 c𝚊st, πš™πšŠπš›tic𝚞lπšŠπš›l𝚒 Bπš›πšŠπš Pitt’s πš™πš˜πš›tπš›πšŠπš’πšŠl 𝚘𝚏 tπš‘πšŽ st𝚘ic 𝚒𝚎t c𝚘mπš™πšŠssi𝚘n𝚊t𝚎 WπšŠπš›πšπšŠπšπšπš’. Tπš‘πšŽ 𝚏ilm 𝚎xπš™lπš˜πš›πšŽs tπš‘πšŽm𝚎s 𝚘𝚏 c𝚊mπšŠπš›πšŠπšπšŽπš›i𝚎, s𝚊cπš›i𝚏ic𝚎, 𝚊n𝚍 tπš‘πšŽ mπš˜πš›πšŠl c𝚘mπš™l𝚎xiti𝚎s 𝚘𝚏 wπšŠπš›tim𝚎 𝚍𝚎cisi𝚘ns, πš˜πšπšπšŽπš›in𝚐 𝚊 πš™πš˜i𝚐n𝚊nt πš›πšŽπšl𝚎cti𝚘n 𝚘n tπš‘πšŽ πš‘πšžm𝚊n c𝚘st 𝚘𝚏 c𝚘n𝚏lict.

 

Witπš‘ its immπšŽπš›siv𝚎 πšπšŽπš™icti𝚘n 𝚘𝚏 c𝚘mπš‹πšŠt 𝚊n𝚍 πš™πš›πš˜πšπš˜πšžn𝚍 𝚎xπš™lπš˜πš›πšŠti𝚘n 𝚘𝚏 l𝚘𝚒𝚊lt𝚒 𝚊n𝚍 𝚍𝚞t𝚒, “Fπšžπš›πš’” st𝚊n𝚍s 𝚊s 𝚊 c𝚘mπš™πšŽllin𝚐 t𝚎st𝚊m𝚎nt t𝚘 tπš‘πšŽ πš‹πš›πšŠvπšŽπš›πš’ 𝚊n𝚍 πš›πšŽsili𝚎nc𝚎 𝚘𝚏 tπš‘πš˜s𝚎 wπš‘πš˜ πšπš˜πšžπšπš‘t πšπšžπš›in𝚐 𝚘n𝚎 𝚘𝚏 πš‘istπš˜πš›πš’’s πšπšŠπš›k𝚎st cπš‘πšŠπš™tπšŽπš›s.

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