'Barry Munday' Critic Reviews
Los Angeles Times
D'Arienzo's love of trite indie-movie signposts of comic quirkiness -- deadpan delivery, overly formal camerawork, characters delivering dialogue into the camera, stunt casting -- is ultimately regrettable.
D'Arienzo's screenplay and direction goes for a cross between naturalism and absurdity, but it's largely a queasy, oil-and-water blend.
Shadows on the Wall
An oddball feature lacking a fine point to tie it all together, but it spotlights a cast game to try something new for a change, committing to the aimlessness with endearing slack-jawed concentration.
Barry remains immature in serious situations like a doctors office. He does follow a respectable character arc, never sacrificing humor to learn his lessons.
Film School Rejects
It trades schmaltz for honesty and receives heaps of laughs as its reward.
[Transcends] a familiar plot with sharp dialogue and awkward grace.
A deeply off-putting independent comedy.
With characters this grating, one wonders how much better Barry Munday might have been had all these good performers just acted normal
Just what we need, another self-consciously quirky indie comedy as low on laughs as it is on inspiration.
This sluggishly paced quirkfest is awfully sophomoric for a film all about giving up the facile thrills of youth for the responsibilities of adulthood.
A dreadfully unfunny slog through contemporary dysfunctional family indie cliche.
Moving Pictures Magazine
goes for a cross between naturalism and absurdity, but it's largely a queasy, oil-and-water blend
You watch it, you shrug, you go about your day.
Manages to be both funny and touching when it doesn't seem capable of either.