Stuber is a reasonably sympathetic and even more of a subversive comedy than expected, but perhaps the most interesting thing is not what it develops in itself, an adventure in the form of a buddy movie with brushstrokes somewhat raised in terms of violence and eschatology, but what it represents: the end of an era.
And it is that during the viewing itself, it is inevitable to think how much we are going to miss productions such as these, for adults, which obviously will not change the History of Cinema at all, but that allowed us a guilty pleasure by the hand of 20th Century Fox. Already the announcement that Deadpool could happen to have a recommendation for warmer ages when falling into the hands of Disney, has caused us to jump the alarms and suspicions about other projects, such as the satire around Hitler Jojo Rabbit do nothing but make us more and more pessimistic.
Returning to Stuber, which is the film that concerns us, there are two essential things to make it work: good action choreographies, and here in the presence of The Raid star Iko Uwais is already a declaration of intentions, and a chemistry pestle between the two main protagonists.
It complies in both sections (Dave Bautista is the hard cop and Kumail Nanjiani the type of walk, involved in a unique adventure) and even introduces the odd original candy-like turning around an alternate club or playing with the most sensitive side of the villains. And all to show an interesting catalog of masculinities.
Like night and day, the temperamental Vic, obsessed with putting the glove on the trafficker and murderer Tedjo and the candid Stu, in love with his best friend since childhood, will make pineapple on a crazy day in which the first will have to recover the affection of his daughter and the second face his own destiny. All this while the electric car of Uber that Stu drives leads them to the eye of the hurricane.
The dynamics between the two main characters are brutal: while Vic tries to make Stu understand that he must be less accommodating and learn to fight for what he wants, the latter will be in charge of making Vic not systematically resort to brute force to solve everything. But to get to that point of understanding they will have to go through a multitude of experiences together including a shooting, a chase, and even an unexpected betrayal.
Stuber only lacks rhythm and agility in the dialogues to be more fun: although the scriptwriter, Tripper Clancy, puts some curious pills in the mouth of the characters, but sometimes the sketches are deflated due to lack of speed. A return to the script would have been good to polish these aspects.
As far as the narrative is concerned, it does not dispense with the last act of coherence rather scarce, which relegates Stuber to be an entertaining film without further ado. It is clear that it had no great pretensions, but the final revelations are so coarse and superficial that they steal some of the charm from the brave beginning, much less form than the outcome.
This is a film that is seen and that does not call the spectators to deceive: some more action would not hurt, especially if it is to see Uwais do his magic before the camera. Without a doubt, he knows how to move! But above all we already know that it is one of those films that seem destined to extinction, which makes it a bit more special.