Stuber (2019)
93 min|Action, Comedy, Crime|12 Jul 2019
6.2Rating: 6.2 / 10 from 53,767 usersMetascore: 42
A detective recruits his Uber driver into an unexpected night of adventure.

Stuber merupakan film aksi komedi arahan sineas spesialis komedi asal Kanada, Michael Dowse. Uniknya, film produksi 20th Century Fox ini tercatat sebagai film berating R (dewasa) pertama yang dirilis Walt Disney Studios akibat merger Fox ke Disney beberapa waktu lalu. Stuber dibintangi beberapa nama populer, seperti Dave Bautista, Kumal Nanjiani, Mira Sorvino, Karen Gillan, serta aktor kita yang tengah mencuat namanya, Iko Uwais. Sejak tahun 1980-an, film komedi polisi dan sobatnya macam ini memang bukan barang baru di industri film, namun dengan penyegaran bintangnya, apa yang mau ditawarkan kali ini?

Victor Manning atau Vic adalah seorang polisi berdedikasi yang terobsesi menangkap gembong obat terlarang bernama Tedjo yang dulu menewaskan partnernya. Suatu ketika, di saat momen yang buruk (operasi mata berujung pada penglihatannya yang kabur), Vic mendapat informasi penting tentang keberadaan Tedjo. Vic akhirnya memesan Uber yang disopiri oleh Stu. Sang sopir pun terjebak dalam satu petualangan seru bersama Vic untuk memburu Tedjo dari satu tempat ke tempat lain.

Premisnya sebenarnya menarik, sekalipun bukan lagi satu hal yang baru. Satu film yang paling membekas dalam ingatan adalah Die Hard 3, di mana John McClane harus mencari bom di penjuru Kota New York bersama Zeus, seorang kulit hitam yang juga tukang servis elektronik. Satu pembeda tegas antara dua film ini adalah naskahnya yang lemah, berujung pada lemahnya chemistry antar dua pemain utamanya. Tak ada dialog humor cerdas, ini yang menjadikan chemistry antara keduanya menjadi kurang greget. Bandingkan dengan sosok McClane dan Zeus, sepanjang film nyaris keduanya beradu mulut yang memancing tawa kita.

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Saya sendiri kasihan melihat sosok Dave Bautista yang terlihat merana sepanjang film. Tak habis pikir, mengapa sosok Vic harus dibuat menderita dengan penglihatannya. Tanpa ini pun, sepertinya tak memengaruhi kisahnya. Vic bukan sosok polisi super yang harus dilemahkan fisiknya untuk menangkap penjahat kuat dan lincah macam Tedjo. Tak pernah ada tawa lepas di ruangan bioskop, kecuali beberapa momen kecil saja. Satu lagi, sosok Tedjo pun bisa dimainkan siapa saja tanpa harus Iko. Potensi bela diri yang ia miliki tak pernah dieksplorasi lebih jauh.

Dengan potensi premisnya, Stuber tak mampu menggigit, baik aksi maupun komedinya, akibat skrip serta penampilan para kastingnya yang lemah. Para kastingnya seolah hanya meminjam nama besar mereka, termasuk Uwais untuk mengangkat filmnya. Dengan berbekal bujet sebesar USD 16 juta, Stuber adalah salah satu contoh film terburuk di genrenya. Sang sineas pun masih belum mampu mengangkat namanya, terlebih jika film ini gagal komersial. Untuk memberi penilaian pengendara Uber ini lima bintang, sang sineas rasanya masih harus memperbaiki performa dan mengasah kemampuannya lebih dalam.

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A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). A lifelong cinephile, he developed a profound passion for film from an early age. After completing his studies in architecture, he embarked on an independent journey exploring film theory and history. His enthusiasm for cinema took tangible form in 2006 when he began writing articles and film reviews. This extensive experience eventually led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched students’ understanding through courses such as Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended well beyond the classroom. In 2008, he published his seminal work, Understanding Film, an in-depth examination of the essential elements of cinema, both narrative and visual. The book’s enduring significance is reflected in its second edition, released in 2018, which has since become a cornerstone reference for film and communication scholars across Indonesia. His contributions to the field also encompass collaborative and editorial efforts. He participated in the compilation of Montase Film Bulletin Compilation Book Volumes 1–3 and 30 Best-Selling Indonesian Films 2012–2018. Further establishing his authority, he authored Horror Film Book: From Caligari to Hereditary (2023) and Indonesian Horror Film: Rising from the Grave (2023). His passion for cinema remains as vibrant as ever. He continues to offer insightful critiques of contemporary films on montasefilm.com while actively engaging in film production with the Montase Film Community. His short films have received critical acclaim at numerous festivals, both nationally and internationally. In recognition of his outstanding contribution to film criticism, his writing was shortlisted for years in a row for Best Film Criticism at the 2021-2024 Indonesian Film Festival. His dedication to the discipline endures, as he currently serves as a practitioner-lecturer in Film Criticism and Film Theory at the Indonesian Institute of the Arts Yogyakarta, under the Independent Practitioner Program from 2022-2024.

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