Canadians are currently witnessing a funny contrast in their local multiplex – Reagan is screening at the same time as Deaner ’89. If Reagan is supposed to accurately depict what the United States was like in the 80s, Deaner ’89 is the “meanwhile in Canada” example.

The president of Deaner ’89 is a metalhead named Dean Murdoch, and the president of this production ought to be writer/producer/co-composer/leading man Paul Spence. Though, it’s important to note the film was directed by newcomer Sam McGlynn. What’s also important to note is that Dean isn’t the “Dean” audiences are familiar with. Spence played Murdoch in two Fubar movies (Fubar, Fubar II aka. Fubar: Balls to the Wall) and the TV series Fubar Age of Computer, but McGlynn and Spence propose a different timeline for their flick.

In Deaner ’89, Dean looks back on his road to fame after the audience is acquainted to his current luxurious lifestyle. Alternating between a faux-documentary and a period slacker comedy, the Manitoban headbanger recalls high school memories and past hockey games, as well as romantic hang-outs with then-girlfriend Kitty (Maddy Foley) and the fun he had with Kitty’s aunt May (Mary Walsh of How to Be Deadly). Dean attributes some of his success, however, to his covered-up adoption. Unaware of his Indigenous roots, he receives a mysterious chest containing his biological father’s belongings. With the guidance of his adoptive parents (Lauren Cochrane, MADtv alum Will Sasso), Dean’s coming-of-age starts by finding out he’s Métis.

Dean’s newly discovered ancestry seems as though it would initiate an interesting and timely arc in Deaner ’89. But honestly, this evolution is shockingly sparse. The character starts as “the coolest guy in school” and ends with him being “the coolest guy in school who wears a cool jacket”. Dean doesn’t take away much from his family history – Dean himself even comments on this through narration. More of Dean’s origin, actually, is taught by aunt May (the art of shotgunning beers, for instance). These scenes between Spence and Walsh are sweet in their own oddball, profane sort of way, but these moments of self-actualization feel like they’re happening in the wrong context.

The previous Fubar films worked not only because they were laugh-out-loud hilarious, but also because they developed on their initial premise. Fubar was a slacker comedy featuring burnouts who were now forced to face a tragic medical diagnosis. The sequel was a slacker comedy of the same ilk, but they’re antics took them to Fort MacMurray where the film chronicled the difficulties of working in the oil sands; brilliantly blending the line between its mockumentary format and reality.

Deaner ’89 shouldn’t be compared to the Fubar movies because it’s been produced as a tangential lark outside of that franchise (much like The Jesus Rolls, John Turturro’s semi-spiritual sequel to The Big Lebowski). However, that doesn’t mean we have to lower our expectations. Deaner ’89 may make us laugh while we bob our head to its rockin’ soundtrack. The production may have utilized its gifted cast well, as well as introduced us to some bright talents. But, Deaner ’89 doesn’t offer enough in terms of story and, instead, feels like a bunch of immature albeit amusing ideas that would’ve been packaged more efficiently as a prequel series (ala Seth McFarlane’s Ted spin-off).

Paul Spence is always “givin’r” as Dean Murdoch but, now that he’s gotten this film out of his system, maybe it’s time for him to give his attention to other opportunities.

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Addison Wylie: @AddisonWylie