Fried Barry Review Movie
Fried Barry Review
The film is a spin-off of his short film from 2017, Fried Barry is an original. South African writer-director Ryan Kruger's feature debut is a mash-up of genres — science fiction, druggie drama, night-in-the-city-movie — that throws a lot of stuff at the wall to see what sticks. It's a good thing that most of it sticks. It may change from set-pieces to set-pieces without a story between, but it is filled with an edgy energy, a lo-fi ingenuity and a hallucinatory feel distinct.
If he gets bored of the absurd and depraved Kruger could make a successful career in more relatable comedy for humans.
The setup is as easy as it is sinister. In an euphoric state of mind, the tense drug addict Barry (Gary Greene who is a powerful presence with a stunningly expressive face) is telecast into a spaceship from another planet (cheap but enjoyable effects) and then, in the midst of a torrent of quick cut, crazy images, is transformed into a host to an alien who utilizes Barry's body for a wild odyssey around Cape Town nightlife. The always quiet Barry wanders around in a raunchy bar cutting amazing forms in a nightclub and shags the clubber. He is taken in by a sex-worker, and ends up in the wrong part of town and becoming the unlikely hero of kidnapped children. We're still not at the hospital or the police interrogation, the asylum, and the insane conclusion.
The story is a bit sloppy and is void of narrative power and it lacks in many ways there is no overarching plot point, however Kruger makes it entertaining by incorporating body terror (a baby's birth moments after sexual exploitation) and a chainsaw battle as well as Superman-like flying sequences, and possibly the most heart-warming scene of DIY dental work in the past since Marathon Man. There's a fun element to the film's production too, from the opening credits of the writer-director"A Ryan Kruger thing'to the faux intro which is shot in a 4:1 aspect ratio that warns of "explicit explicit language, nakedness and intense scenes of violent sexual violence that are high-impact." The film is dotted with film are more simple dialoguesone on the reason people in cartoons don't wear gloves and another focused on the dents in cans found in grocery stores which suggest that even if he is tired of the depraved and fantastical, Kruger has a career in more relatable , human comedy. In any case, he's an actor to be watched.
