SYNOPSIS: “Spinal Tap II: The End Continues,” a new mockumentary now rockin’ in theatres, sees the estranged members of metal legends Spinal Tap thrown together for one last gig. Times have changed, but have they?
CAST: Christopher Guest, Michael McKean, Harry Shearer, Rob Reiner, Elton John, Paul McCartney, Fran Drescher, Questlove, Garth Brooks, Trisha Yearwood, Kerry Godliman and Paul Shaffer. Directed by Rob Reiner.
REVIEW: “Spinal Tap II: The End Continues,” the legacy sequel to the forty-one-year-old classic mock rock doc, captures the spirit of the original, but does not turn the volume of laughs up to 11.
Following a fifteen-year break, the estranged members of heavy metal band Spinal Tap— David St. Hubbins, Nigel Tufnel, and Derek Smalls (Michael McKean, Christopher Guest, and Harry Shearer)—are forced to reunite for a one-off show in New Orleans.
Their acrimonious split sent them in different directions. Guitarist Tufnel has a shop called Nigel’s Cheese & Guitars, where he trades cheese for musical instruments. Singer/guitarist McKean writes scores for b-horror movies like the retirement home horror “Night of the Assisted Living Dead”, and bassist Smalls runs a glue museum called Stick to It.
Reluctantly reunited, they are once again under the scrutiny of documentarian Marty Di Bergi (Rob Reiner) who captures the backstage drama, ego trips and the search for a drummer.
The original film was groundbreaking, a masterful mock doc that set the template for everything from “Bob Roberts” and “Borat” to “The Office” and “A Mighty Wind.” The new film, however, feels like nostalgia. We’re used to the form, and while it’s nostalgic fun to spend time with silly-but-sweet rockers, our familiarity with the original blunts the impact of the new one.
There are some laugh out loud moments in “Spinal Tap II: The End Continues,” but the satire doesn’t land in quite the same way it did forty-one years ago. British comedian Chris Addison’s portrayal of the music hating concert promoter is bang on. He’s the embodiment of the ruthless music executive who, with a straight face, suggests it would secure the band’s legacy if, “during the gig at least one, but ideally no more than two of you were to die.” When he’s on screen the spoof is sharpened to a fine point.
It’s when the film gets awkwardly reflective with a mix of satire and emotion that it hits a flat note. As old wounds are opened and an air of mortality hangs over the band, the jokes become fewer and further between. A new song, “Rockin’ in the Urn,” is a reflection on aging, but it hits the expected tone, self-serious, over the top and metal as hell. That scene hits the right chord, managing laughs with the band’s reflections on refusing to stop rockin’ in the face of their own impermanence.
“Spinal Tap II: The End Continues” is a cover version of a fan favorite. Guest, McKean, Shearer and Reiner, who directs as well as appears as Marty Di Bergi, are game, but the looming specter of the original casts a long shadow over the proceedings.
In 1949 Life Magazine described the four grades of laughs—there’s the titter, the yowl, the belly laugh and the boffo. For Your Consideration, the new comedy from the team of Christopher Guest and Eugene Levy, is a good movie with quite a few titters, a couple of yowls, at least one belly laugh, but stops just short of big boffo laughs.
Beginning in late October every year the big movie studios take out ‘For Your Consideration’ ads in Variety and the Hollywood Reporter. Basically these ads are a way to remind Academy voters about award-worthy achievements from the past year. Those three magic words can build a career, inflate a salary and move performers from not hot to hot in a flash. This new improvised comedy from the makers of Best in Show and Waiting for Guffman details what happens when members of the Home for Purim cast are plucked from obscurity and infected with Oscar fever.
Catherine O’Hara plays the aptly named Marilyn Hack, a veteran actress whose chances of stardom are behind her. When she gets wind of an internet rumor that her performance in this overwrought melodrama might attract the attention of the Academy he long dormant hopes of stardom are awakened. The resulting award hype spreads to everyone around her and soon her co-stars are being buzzed about by award season handicappers and everyone has Oscar mania.
Guest, with his usual collaborator Eugene Levy have come up with an occasionally touching, often revealing look at the outskirts of the dream factory and its citizens. The kind of actors who struggle and are best known for playing giant dancing hot dogs on television commercials. O’Hara’s Hack is a poignant example of an actor who never broke through but refuses to give up on her dreams, convinced that celebrity is just around the corner. Harry Shearer, best known as the voice of Ned Flanders (and many others) on The Simpsons and as Derek Smalls, bass player for Spinal Tap, is Victor Allan Miller, a journeyman actor who still has to audition for radio voice work. Together they represent the 98% of the Screen Actors Guild who spend most of their careers either unemployed or underused.
For Your Consideration isn’t as drop dead funny as some of Guest’s other efforts like Best in Show but does feature great work from the ensemble cast. Catherine O’Hara just might find herself with a For Your Consideration ad in real life, while Fred Willard happily and hilariously skewers television entertainment reporters. Dependable players Eugene Levy and Jennifer Coolidge hand in wonderfully odd comic performances, but if I have a complaint about the cast it is that it is too large. The ensemble has swelled to include Ricky Gervais and Sandra Oh both good performers, both kind of wasted in throw-away roles. Gervais is one of the funniest actors working today but you wouldn’t know it from his performance here.
For Your Consideration is a clever—I liked Harry Shearer’s line, “Oscar is the backbone of this industry, an industry not known for backbone.”—and fairly realistic look at life on the fringes of success, but it doesn’t deliver the boffo laughs of some of Guest’s other work.
