, , , ,

Every now again, a movie comes along that is an amped up, riotous frenzy of fun that lives in a world of its own and boldly holds onto its identity, unashamed, and marching to the beat of its own triumphant drum.

Fried Barry from the mind of South African director Ryan Kruger firmly plants itself in this domain.

It’s also incredibly disjointed, which both serves as its appeal and a hindrance to an audience that will either lap up its oddity or subject it to ruin without a care.

The concept is a glorious one that casts Barry as a screwed up, drug addled, poor excuse of a human being. A low-life wretch, who abuses his wife and has no connection with his son whatsoever.

At first observation, the acting strains at the seams, and I question the casting, but no sooner has the thought crossed my mind when we’re subjected to a wicked turn as Barry is suddenly abducted by an alien who possesses his body and goes on one massive bender.

From here on in, we’re treated to 90+ minutes of ridiculous mayhem as the alien uses Barry’s form to experience the wildest of human experiences, which primarily involve sex, drugs, and battling with a chainsaw wielding madman. 

One particular sexual encounter, thrusts the willing recipient into a 2 minute long pregnancy as she gives birth to a humanoid creature with all of Barry’s features but with an expedited lifespan. 

There are many exploits that Barry is subjected to, all with the hypnotic anthems generated by Haezer’s wonderful score. There are times that repetition feels a little stilted in places but this is soon put to rest however when the next crazed antic transipres, propelling us to an equally surreal ending.

The Prognosis:

Fried Barry is a unique and entertaining ride that scintillates on every level.

It’s a wild beast that refuses to be tamed, shedding its whole character to a raw and riveting effect.

You’ll either give in to the discord, or become unsettled by turmoil.

I for one, welcome its complexities and celebrate its unrest.

  • Saul Muerte