Spın̈al Tap II: The End Continues Doesn’t Go to Eleven

Spın̈al Tap II: The End Continues doesn’t go to eleven. It mostly revisits familiar territory with a generous assortment of fresh gags. The movie lacks the quotable parodic punch of the previous picture. However, oddly enough, this lack of insightful bite doesn’t keep it from being comedic. The movie merely exchanges the mirthful amusement of an absurdist mirror for one last hurrah with aged humorous heroes.

Although the legendary rock group Spın̈al Tap broke up over fifteen years ago, the discovery of a lost contract compels them to reunite. This final, final show they never planned to perform has them gathering in New Orleans. Recording events is documentarian Marty Di Bergi (Rob Reiner), who brought the world The is Spın̈al Tap almost forty years ago. What transpires is the struggle of these iconic individuals to prepare for a gig they never intended, and the spotlight they don’t want to admit they’ve been missing.

At least, that seems to be the intention. Overall, the group doesn’t struggle much to get back in the saddle again. Christopher Guest, Michael McKean, and Harry Shearer smoothly reprise the roles of Nigel Tufnel, David St. Hubbins, and Derek Smalls. Each has been occupied with their own distractions since the band broke up. Yet, the ease with which they resume rocking is as if they never left the scene.

Spın̈al Tap II: The End Continues approaches ideas about conflict between the characters, but rarely ever does anything with those plot elements. They’re often acknowledged then ignored for bits involving the band. Though these are thoroughly amusing, they lack a thesis running throughout the film.

Much of the what the movie might have explored is, I dare say, better examined in another Christopher Guest movie, A Mighty Wind (2003). Furthermore, ways this sequel could have been the mockumentary equivalent of Some Kind of Monster (2004), a notoriously unflattering documentary about the turbulence within Metallica, never occur. Granted, that all sounds closer to personal expectations than what could have been the filmmakers’ intention. Director Rob Reiner, who penned the script with Guest, McKean, and Shearer may very well have had other ideas when it comes to this sequel. The point is that Spın̈al Tap II: The End Continues often feels like it’s full of lost opportunities.

The film lacks the legendary parodic insight that once skewered the preposterous pompous pretentions of superstar musicians with bloated egos. It made rock gods look like fools. And in the process, it carved a comedic legacy in stone featuring quotable lines as well as a stylization that others have copied to this day. Spın̈al Tap II: The End Continues is merely amusing.

That’s a strange complaint to have. The movie is genuinely funny. Perhaps being a fan of the original biases my opinion slightly, but I defy anyone to watch Spın̈al Tap II: The End Continues without laughing. The movie can be dry, witty, and infrequently low brow. Even when the flick slows there are moments afterward which turn the decline into punchlines. I regularly found myself smiling, chuckling, or laughing out loud.

What’s missing is any commentary on the modern era of music. There’s almost nothing about social media, streaming services such as Spotify which pay fractions of a penny to performers, or contemporary fandom, its toxicity or creepily possessive, simultaneously invasive parasocial aspects. Spın̈al Tap II: The End Continues is largely just the story of a rehearsal. It borders on nostalgia bait that completely lacks the meaningful depth of the first film.

Furthermore, the movie doesn’t do much with its new characters. Some are introduced, particularly new drummer Didi Crockett, played wonderfully by Valeria Franco in her first feature film. Once her introduction is done the movie mostly forgets about her, speeding to the next bit or celebrity cameo. These can be a mixed bag themselves. There’s a reason Paul McCartney isn’t known for his films, and Elton John licks his lips so much a drinking game based on it would cause alcohol poisoning.

At one point David St. Hubbins puts it best by remarking that as the band gets back into the music, they’re able to ignore their overarching issues. It’s delightfully comical, while also a testament to the film’s main flaws. The more Spın̈al Tap II finds the groove again, the less it feels like a sequel, becoming instead an extended epilogue. Essentially, there’s nothing new just a taste of the old treasures.

Not to risk spoilers, or belabor the point, but another instant comes to mind. During a rehearsal scene, the band is playing a rendition of “Bitch School” the opening track off the 1992 album Break Like the Wind. The moment is humorous because the lyrics don’t fit the tone with which they’re being performed. The glib casual offensiveness of an eighties metal song suddenly sounds like a tune softly performed by a pub band on a quiet Sunday afternoon. The song, at that moment, is humorous, however, its maximum impact requires knowing the original version of this snarky parody. (Not to mention its gloriously satirical video.)

That’s all to say Spın̈al Tap II: The End Continues is best for the fans. Audiences unfamiliar with the first film are still likely to be amused. The movie is often funny on its own without nostalgia driven bits. What this sequel lacks the most is any insightful depth into the current musical landscape, or what it’s like to be aging legends. In addition, it adds next to nothing to the Spın̈al Tap mythos other than two or three fresh faces.

Spın̈al Tap II: The End Continues is honestly entertaining from start to finish, especially once the final concert gets underway. Unfortunately, it can’t escape the shadow of its own predecessor. That mockumentary set the bar so high the sequel couldn’t reach it. In any case, there are far worse comedies clogging up streaming services. At least this one is actually humorous even if it isn’t a masterpiece. Fans should catch this in theaters, while everyone else waits for streaming.