Twentieth Century Fox’s new action-comedy film Stuber acknowledges the inherent silliness, as well as the occasional danger, of hitching a ride in a stranger’s car through apps like Uber. Only this time, the premise is turned on its head: instead of the stranger behind the wheel secretly being a creep, it’s the passenger who’s an unhinged maniac.

Kumail Nanjiani plays Stu, whose side occupation as an Uber driver earns him the titular nickname Stuber. Stu is a down-on-his-luck Los Angeleno struggling to make ends meet and realize his dream of co-founding a spin gym exclusively for women.

In one unfortunate afternoon, he accepts an order from Vic Manning (Dave Bautista), a rough and gruff type who turns out to be a police detective bent on chasing down infamous criminal Oka Tedjo (Iko Uwais).

The story takes a turn for the surreal when Stu learns that he’s not taking Vic out on a lazy afternoon trip around the city, but rather on an official police mission to track down the whereabouts of Tedjo.

The central conceit, which is almost entirely anchored by the unlikely partnership between a clueless chatterbox and a no-nonsense seasoned detective, predictably provides most of the laughs throughout the film.

The often sardonic banter between Stu and Vic is easily the film’s highlight. The comedy operates on a hyper-drive to ensure that the audience is never bored, but it ends up becoming very hit or miss. Only the cheeky exchanges between the two leads remain consistently entertaining. The jokes are mostly character-driven and occasionally morph to suit the fluctuating dynamics between Stu and Vic.

In one particularly ingenious scene, the comedy takes on a physical form as bitter partners Stu and Vic fight against each other inside an outdoor equipment store, using various sporting and camping gear to support their meticulously choreographed slapstick routine. Such masterful fusion of verbal and physical comedy has become something of a rarity at a time when most films of its ilk typically opt for one-note improvisation techniques.

The film’s humorous elements fare much better than its action. Directed by genre journeyman Michael Dowse, the action sequences in Stuber are simply shapeless. Scenes involving hand-to-hand combat take the brunt of the senseless direction, which largely comprises excessively shaky handheld camerawork and rapid-fire cutting. There’s no hint of discernable composition, let alone style. Dowse seems to have mistaken energy with ineptitude, since his hyperactive camera ruins what otherwise appears to be decent action choreography.

Worse still, Dowse’s nauseating direction fails to deliver a visually arresting showcase of rising action star Iko Uwais’ usually balletic kineticism. Iko’s fighting moves in the film are reduced to quick snippets of motion that disregard the very notion of continuity and rhythm. The thoughtless action direction does not deserve Uwais’ physical talents.

Speaking of Iko, he is an underused part in the Hollywood production. Despite Uwais’ evident commitment to the role of Tedjo, he amounts to little more than cheap fodder that is devoid of actual character. Screenwriter Tripper Clancy seems to have forgotten that there should be more to a villain than his fighting skills. Tedjo’s striking appearance – his blond hair and mismatched apparel – is just that, an appearance. The role is a shallow artifice that communicates nothing of substance.

Read also: Iko Uwais changes his game in 'Stuber'

How long will it take until Hollywood stops treating these Southeast Asian action stars as mere props and starts injecting them with actual psychology? Yayan Ruhiyan and Cecep Arif Rahman’s brief screentime in John Wick: Chapter 3 – Parabellum, though not exactly revolutionary, at least gives them an opportunity to play with their characters in interesting ways. Come on, Hollywood – it’s not a high bar to clear.

On a more positive note, Bautista once again proves that he’s the most compelling wrestler-turned-actor working today. Bautista is a once-in-a-lifetime revelation. Fresh off his breakout role as Drax in the Guardians of the Galaxy and Avengers films, he is more than willing to expand his acting range, constantly challenging himself with roles that run counter to his established image as a masculine professional wrestler.

Bautista’s comedic streak continues with his portrayal of Vic, a veteran detective who’s secretly nursing a battered psyche following the death of his partner. The character’s abusive past requires gravitas from the actor, a job description that he fulfills through an effortlessly nuanced performance, despite obligatory comedic interludes.

Meanwhile, Nanjiani is firing on all cylinders, while honing his command of comic timing. He has a gullible everyman persona and is shaping up to be quite the masterful gag-smith.

Read also: Iko Uwais changes his game in 'Stuber'

Stuber is not the first slice of pop culture to have pointed out the absurdity of encountering a total stranger in an Uber ride or taxi. Renowned American auteur Michael Mann already explored a similar idea to a much more potent effect in 2004’s Collateral, starring Jamie Foxx and Tom Cruise. More recently, the Black Mirror season five episode Smithereens paints a grim portrait of modern-day ride-sharing.

Dowse’s film may not hold a candle to the lofty ambitions driving both Collateral and Smithereens, but that doesn’t stop it from commenting on today’s ride-sharing zeitgeist. However, the film’s attempts at being topical often feel like an afterthought. It certainly doesn’t help that the film constantly churns out quasi-progressive one-liners that come across as tacky, especially considering its questionable gender politics. (mut)

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