Fubar

A spoiler light review of Fubar should begin with tone, because Michael Dowse understands exactly how this comedy ought to feel. Fubar gains early credibility from Paul Spence, whose presence is balanced by the different rhythm of David Lawrence. The foundation of Fubar can be stated simply: Headbangers Terry and Dean explore the depths of friendship, and the art and science of drinking beer like a man. Within its 1h 16m running time, Fubar reveals both the benefits and the limits of that disciplined approach.

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Fubar finds additional purpose in its examination of embarrassment, status and the gap between confidence and reality. Through the performance of Paul Spence, Fubar makes that examination feel personal before it becomes broadly symbolic. The idea of Headbangers Terry repeatedly returns Fubar to the cost behind its more visible developments. Michael Dowse is most persuasive when Fubar allows the theme to emerge from an uncomfortable choice rather than polished dialogue.

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The plot of Fubar is built around the uneasy relationship between Headbangers Terry and Dean. For Paul Spence, that relationship gives Fubar an emotional objective stronger than simple forward motion. The screenplay associated with Michael Dowse lets the central character reshape the direction of Fubar in stages. Although the treatment of an important relationship could be sharper, Fubar never entirely loses the thread established at the beginning.

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The craft of Fubar is defined by comic timing built around character, supported by comic timing built around character rather than overwhelmed by decoration. BT Productions gives Fubar a production framework in which well judged reactions can remain connected to story. Made from a Canada production context, Fubar uses setting and design to clarify mood before dialogue has to explain it. The technical finish of Fubar works because image, sound and editing appear to be serving the same immediate purpose.

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What keeps Fubar emotionally readable is Paul Spence, whose choices establish a consistent point of view. In scenes with David Lawrence, Fubar gains tension from two performers refusing to produce the same kind of energy. Gordon Skilling contributes a separate rhythm to Fubar and helps the supporting material feel less purely functional. The direction by Michael Dowse gives the cast of Fubar room to connect the quieter beats with the larger ones.

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Michael Dowse gives Fubar a directorial line that is clear enough to keep the emotional line visible from its opening promise to its final movement. The staging of Fubar is strongest when Michael Dowse allows motivation to determine pace instead of reversing that priority. Viewed as a complete piece, Fubar confirms that its modest pleasures remain genuine across most of the running time. A tighter version of Fubar would address how a few supporting ideas remain thinner than the central one, yet the surrounding work remains persuasive.

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Fubar ends as a solid choice for the right audience, especially for comedy fans who respond to personality and timing. What remains from Fubar is the relationship between Paul Spence, comic timing built around character and Michael Dowse's control of mood. The weakness that a few supporting ideas remain thinner than the central one narrows the impact of Fubar without cancelling its better work. On balance, Fubar gives its intended viewers a distinctive experience rather than a completely anonymous piece of content.