I’ve had a handful of memorable rideshare experiences, but I would probably die from a heart attack if half of everything in this movie happened to me. But I wouldn’t hesitate in the least to give my driver a massive tip for the memorability of it all. This action-comedy premiered as a rough cut at the 2019 South By Southwest Film Festival. The final complete version was later released in theaters by Disney under their new 20th Century Fox banner on July 12th, 2019. Made for the budget of around $16 million, it has grossed over $31.1 million at the box office and should be able to gross back more than its entire budget by the end of its theatrical run. In spite of this, the film has received mixed reviews from critics but general audiences have given it higher ratings. Directed by Michael Dowse, the script was originally written on spec by newcomer Tripper Clancy. Fox purchased the script in 2016 for around six figures and Game Night filmmaking duo John Francis Daley and Jonathan Goldstein became attached as producers. Both of the male leads signed on to the project before a director was even announced, apparently enthused by the opportunity to work together. Because of the recent Disney-Fox merger, this is the first R-rated feature to be released by Disney since The Fifth Estate in 2013. Dave Bautista stars as Vic Manning, a grizzled, tough-as-nails LAPD detective hot on the trail of a ruthless drug lord named Tedjo who killed his partner. But because he recently underwent LAZIK surgery, he is unable to drive himself anywhere, so he gets set up with the app Uber. His driver is Stu, played by Kumail Nanjiani, a wimpy store clerk who’s unable to confront anything or anyone. Vic strong-arms Stu into driving him all around L.A. as they track down any leads that connect to Tedjo. Even though they aren’t in the directing chair, I loved what Francis Daley and Goldstein brought to Game Night. It was a genuinely funny and thrilling film that revived my faith in the studio comedy and I wanted to see what the duo had in store next. A small-scale odd-couple comedy starring Kumail Nanjiani and Dave Bautista honestly sounded like a match made in heaven. Even if this movie didn’t turn out to be great, I still feel the need to support it in theaters for the genre’s survival. I guess part of me was also worried if it was gonna be watered down after its rough-cut screening at South By Southwest. And while Stuber is certainly not without its flaws, it’s definitely a fun and laugh-out-loud ride for the summer. Like it or not, the mid-budget studio movie is slowly dying and that’s a real damn shame because it still has a lot to offer. Just look at The Nice Guys for proof, one of my personal favorite movies from 2016 but its lackluster box office performance more or less killed hopes for a sequel. With Stuber, the filmmakers take the classic mismatched duo approach and use it as a platform to explore toxic masculinity in 2019. It shows a balanced portrait of how Stu is too insecure and unconfident to stand up for himself while Vic has backward ideas of what it means to be “a real man.” It’s in moments like these where the humor and heart shine best, but the film often slides into old-school action movie cliches. Granted, many of them were self-referential and exciting but it just doesn’t really hold up to what the main duo are exploring internally. After watching this movie, I firmly support Kumail Nanjiani and Dave Bautista being on-screen together for the rest of time. The two could not be more mismatched, which only makes their interactions all the more hilarious; their differences and weaknesses bounce off of each other perfectly. You get to see glimpses of their undesirable personal lives, such as Vic’s neglecting his own daughter for police work and Stu working retail under a boss who’s constantly bullying him. Seeing them trying to handle crime scenes or suspects in drastically different manners makes them the perfect odd couple. The rest of the supporting cast doesn’t quite measure up to the two, although they do a decent job. There’s Natalie Morales as Vic’s estranged daughter trying to become an artist, Betty Gilpin as Stu’s best friend and one-sided love interest, Mira Sorvino as Vic’s hardline police captain, Jimmy Tatro as Stu’s profane and mean-spirited retail boss, and Karen Gillan as Vic’s white-eyed partner early in the film. Easily the biggest crime this movie commits is that it totally wastes Iko Uwais as the druglord Tedjo. As a huge fan of his work in The Raid: Redemption and a handful of other films, his skills as both an actor and a martial artist are seriously underutilized. The problem isn’t that he’s playing the main villain, but he has few lines of dialogue and only a couple of scenes that showcase his fighting prowess. And on the technical side of things, Stuber shows a certain understated nature and distinction among the comedy genre. The cinematography by Bobby Shore creates a slightly gritty aesthetic to the story, which works in contrast to the bright daylight of L.A. Although a decent chunk of the movie is told in Stu’s car, whenever they get out and about, the camera always follows them. It often switches between using handheld sequences and more steady angles, depending on the scene. It uses unique lighting to highlight the absurdity of various scenes, such as a shootout inside a veterinarian center. Jonathan Schwartz’s editing job manages to keep tension and comedic timing mostly consistent throughout the film. During the aforementioned vet shootout, there are numerous cuts as well as certain shots that are put in slow-motion for comedic effect. It could work harder to make the pacing better, as some scenes either feel too lightfooted or drag on too long. But given that the movie already runs at 93 minutes, I suppose they’ll have to do. Joseph Trapanese provides the instrumental film score, which is surprisingly memorable for the genre. Much like Game Night, much of the soundtrack is made up of synthesizers and electronic drums, although many of the tracks are warmer in tone here. Often times, they are used to highlight the melancholy truth behind Vic and Stu’s personal lives, mixing with guitars and violins. Other times, it’s more tense and exciting, particularly during moments where the investigation starts to pick up more or the characters get into a scuffle. It also uses the song “Come Sail Away” by Styx in an amusing and funny way. After Stu gets ridiculed by Vic early on for being too soft in his music choices, it comes back late in the film for a final chase sequence. And the way it’s incorporated into the scene makes the editing seem almost synchronized to it, which juxtaposes the darkly comic way the scene is proceeding. Stuber is an uneven but fun modern spin on the buddy action movie. While the script does leave a lot to be desired, it’s ultimately the chemistry between Dave Bautista and Kumail Nanjiani that makes this a breath of fresh air in the summer movie season. They, alone, make it worth watching for all of their bickering and misadventures. I genuinely wish there was much more interest from studios to make more understated fare like this to take a break from all the massive tentpoles that come out regularly. Because even though this film could’ve been a lot better, I definitely feel like it should be supported by the broader movie-going audience.