Too legendary to stay lovable losers, Spinal Tap returns in underpowered ‘The End Continues’

by

The influence of the 1984 rock mockumentary “This Is Spinal Tap,” featuring Christopher Guest as guitarist Nigel Tufnel, is so significant that one must acknowledge his knob-tweaking antics have surpassed the number 11 in popularity.

Born from the witty improvisation by co-creators Christopher Guest, Michael McKean, and Harry Shearer, with director Rob Reiner refining it into a legendary parody, “Spinal Tap” came to life. The film humorously skewered (and, subtly advanced) the metal genre’s absurdities, while also exploring the allure of a compelling resurgence narrative in the music industry.

If a made-up film is accepted as absolute truth by esteemed musicians in the music world, and a phantom band from the past unexpectedly performs at Wembley Stadium, it leaves the distinction between being clever and being foolish seeming like an exclusive area for a follow-up story to explore.

When the original creative forces behind the hilarious satire of faded glory hunters try to recapture their spark, “Spinal Tap II: The End Continues” makes you wonder if certain masterpieces should be preserved in their timeless, repeatedly watchable form.

The sight of Tufnel, McKean’s grumpy frontman David St. Hubbins, Shearer’s quiet Derek Smalls from Spinal Tap reuniting for one final concert after 40 years still manages to bring a soft, 83-minute smile. However, the fact that Tap is now celebrated (with appearances by music legends Paul McCartney and Elton John) diminishes the humor of their outsider status, making it feel more like an extended outtake reel rather than a new exploration of their eccentric fame.

Movies

In a comeback, albeit possibly without the added wisdom that comes with age, Spinal Tap unveils a fresh movie, attracting a new audience that includes music legends like Paul McCartney and Elton John.

Initially, the trio’s individual paths, which range from Nigel’s eccentric cheese-and-guitar shop to David’s venture in phone-hold music after moving to California, provide a delightful dose of absurdity that Guest, as a director, transformed into a unique niche (similar to “Waiting for Guffman,” “Best in Show,” and “A Mighty Wind”). However, when Ian Faith’s daughter, Hope, insists on bringing the group together for an arena show after inheriting her father’s contract, the production seems to lose its quirky essence, attempting to capitalize on the success of a masterpiece rather than maintaining its original energy.

Encore performances can often be traps. For instance, the well-known drummer mortality issue serves as an illustrative example, with its predictable revival through famous guest appearances (Questlove, Lars Ulrich) and a disappointing audition montage. Later, after the arrival of a lively new recruit (Valerie Franco), a comedic opportunity is missed when one ponders why she doesn’t challenge the need to play songs like “Bitch School.” Even the band’s second attempt at a spectacular Stonehenge performance feels more like a joke in spirit rather than in reality.

Despite occasional moments where the potential for humor falls flat or goes unrealized, the main characters can create an unpredictable, dynamic atmosphere when given some space to breathe. However, there are instances where the anticipated comedic collisions are not fully developed or disregarded, and the suggested madness (such as when frequent guest stars John Michael Higgins and Don Lake appear) often fails to reach its full potential.

The most amusing aspect, as it fittingly pokes fun at the setting, is Chris Addison portraying the band’s pushy promoter Simon, who boasts about being unaffected by music, and suggests to our elderly rockers that it would be best for posterity if two of them were to pass during the show (fortunately, “Spinal Tap II” doesn’t actually harm the original’s reputation). Instead, it’s a nostalgia trip that we wish had more depth.

Read More

2025-09-13 02:31