WITHOUT AD TT7734218 2048X1536 STUBER
director=Michael Dowse
release Year=2019
Score=31800 Votes
Dave Bautista
Tomatometer=6,4 of 10
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Stuber movie. Stuber bloopers. Stuberi youtube. Dave Bautista and Kumail Nanjiani in Stuber (2019) Fox and Disney Stuber is an uncommonly successful action comedy that gets to have its cake and eat it too. It"s an action movie that skimps neither on the action or the violence and yet it still thrives as a genuine knee-slapper. Moreover, it fills its 90-minute-running time with all manner of vulgarity and R-rated humor while succeeding as an open-hearted meditation on masculinity in concept and practice. Yes, it has a certain progressive streak that plays closer to Lethal Weapon 2 than London Has Fallen, but it uses its modern slant as a tool for comedy rather than something against which to rebel. The plot is a smart meld of old and new. Dave Bautista plays a conventional "rough-and-tumble cop. " Vic is the kind of guy who pushed his family away because he spent too much time chasing the bad guy and now is aggressively pursuing the guy (Iko Uwais) who shot his partner (Karen Gillan, apparently doing a favor on a day off from Jumanji 3 or Avengers 4) six months prior. Kumail Nanjiani"s Stu is a hapless sporting goods store employee who moonlights as an Uber driver in the hopes of hoping a cycling gym with a friend (Betty Gilpin) whom he has adored from afar for years. Vic gets a tip about the fugitive while recovering from Lasik surgery, so he orders a "new to him" Uber service and the chase is on. For Vic, the clock is ticking because he promised his adult daughter (Natalie Morales) that he would attend her big art show. For Stu, Becca has just broken up with her boyfriend and is reaching out for a booty call. Can the old-school "man"s man" and the newfangled "woke" dude work together to catch the bad guy? This question and more will be answered in writer Tripper Clancy and director Michael Dowse" surprisingly terrific of-the-moment comedy actioner. For the record, in terms of violence and carnage, the film is closer to the occasionally mean sensibilities of 48Hrs than the "do no harm" styling of Rush Hour 2. This is an R-rated action movie about a cop chasing a bad guy, and the film doesn"t hold back in terms of old-fashioned action, violence and (occasionally where appropriate) gore. Moreover, that comparison applies to the film"s core pairing too, as the cop and the driver don"t get along until well into the third act. Their opposing personalities and opposing goals cause authentic conflict that gives the plot personal stakes beyond the surface-level crime melodrama. As a comedy, Stuber works because there is a specificity the humor, in terms of these characters, in terms of how ride shares work and how Stu calls out Vic"s moral failings and unwillingness to confront trauma. It"s no spoiler to say that the movie is very much about different definitions of "masculinity, " and that Vic"s drive to live up to his father"s (arguably abusive) example of manliness has made him miserable. The plot and the punchlines are all rooted in the idea that so-called toxic masculinity doesn"t just present a clear and present danger to women but causes real harm to men too. This isn"t a new concept, and the likes of The LEGO Movie 2, Ralph Breaks the Internet, The Art of Self-Defense and Spider-Man: Into the Spider-Verse have examined these notions within the last year. Moreover, Stuber plays like a cousin of sorts to Arnold Schwarzenegger"s (still terrific) Kindergarten Cop. The focus is on character and relationships, and even potentially "problematic" gags like Vic"s temporary blindness are played for character-specific laughs (the joke isn"t that he"s blind, but that he refuses to admit as much and refuses to ask for help). Ditto an original resolution to a "We gotta torture the bad guy for information" sequence. No spoilers, but both men come to realizations that feel organic and play out with an emphasis on personal dignity. The laughs are earned, and the casting of two distinctly "not a white guy" leads (Vic"s reference to not being white is filled with unspoken resentment and pain) gives it a distinct personality unto itself. Even 21 years after, Rush Hour, there are still far too few buddy flicks of this nature ( Bad Boys, Rush Hour, Harold & Kumar Go to White Castle, etc. ) where both characters are racial minorities. And yet, shock of shocks, they all seem to spawn two-to-three-movie franchises. Imagine that... Stuber is yet another pleasant surprise in a summer where Aladdin turned out okay, Toy Story 4 was every bit as good as you"d hope even the Child"s Play remake turned out to be halfway decent. I can only hope that there is still a theatrical audience for this kind of old-fashioned studio programmer. That it"s the first R-rated Fox film to go out under the Disney umbrella is ironic. Box office potential aside (#votewithyourwallet), Bautista and Nanjiani are terrific together, and the character-and-idea-focused screenplay doesn"t let them down. It"s yet another example of how "woke" and "funny" don"t have to be mutually exclusive concepts. Follow me on Twitter. Check out my website.
Stuber full movie. Stuberi. com/shop. Stuber reviews. The only thing worse than hot garbage is elaborately lukewarm mediocrity, and for too much of its running time, the new comedy “Stuber” is just that. Directed by Michael Dowse from a script by Tripper Clancy, “Stuber” has a generic action-comedy premise: tough cop is incapacitated and forced to entrust himself to a fish-out-of-water who’s the antithesis of everything he aspires to/stands for. The tough cop, Vic, adheres to the generic brass tacks: job-obsessed, technology-wary, unregenerately macho, widower (of course) who neglects his adult daughter (of course). His foil here is Stu ( Kumail Nanjiani), whose line of work provides the contemporary culture upgrade (putative division): he’s an Uber driver. Just moonlighting, of course. He has another job at a sporting goods store working for a smarmy rich kid. He’s pouring all his money into a business venture with his best friend Becca who he adores and can’t tell and who of course walks all over him. Vic, played by Dave Bautista, gets Lasik surgery on the very day he discovers he may finally be able to nail the drug runner who killed his partner a year back. Unable to drive or really even walk with any purpose (there are about ten minutes worth of gags recycled from Mr. Magoo cartoons, very fresh), he uses the Uber app forced on him by that adult daughter ( Natalie Morales) who wants him to attend her art opening that evening. His driver is Stu, who leases an electric car and is big on maintaining a five-star rating. To that end, he offers riders candies and water, but Vic isn’t having it. He hijacks Stu into L. A. ’s Koreatown, then a male strip club, then a quasi-trap-house in Compton, then a veterinary hospital. This extends the Uber encounter uncomfortably, since Becca is drunkenly booty-calling Stu all the while. The gags enacted in these locales are pretty much what you’d expect, but worse. There’s a bit in which the timid and indignant Stu accidentally shoots someone, and the point of the scene, no kidding, is that accidentally firing a bullet into another human being is one of the funniest things you can do. “Lighten up, ” you might advise me, but hey, I can only convey my direct experience of the movie. I suspect that Canada-born director Dowse, best known for his 2004 techno DJ piss-take “It’s All Gone Pete Tong” is here, and in subsequent scenes of bloody massacre, making a point about the bloodthirstiness of Hollywood product in general. But what unfolds on the screen is not any the less ugly for whatever he might have been thinking. So how does the movie earn the two stars I’m giving it? Kumail Nanjiani and, yes, Dave Bautista. Nanjiani is a near-genius of unprepossessing dryness even when the punchlines he’s obliged to deliver aren’t worthy of his expert handling. And Bautista, underneath his lumbering mass, is starting to get a little Lee Van Cleef thing going, performance wise. I hope he hones it in better movies. Watching these two go through the paces of this dreck is dispiriting. I kept thinking, Nanjiani knows the writers from “Silicon Valley, ” and he’s married to Emily Gordon, who co-wrote “ The Big Sick ” with him; surely he could have tempted them to come on board and punch up a few jokes? But even if he had, it’s not clear they could have scrubbed off the lazy cynicism that pulses through all the nodes of this project.
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