Review “Spinal Tap II: The End continues”: a series of pleasure

Since Black Sabbath met just before it was too late, the Who are currently on their turn their Last farewell ascent, this seems to be the perfect time for the return of the most liked (fictitious) hard rock group to hit the screen. Arrival 41 (!) Years after his predecessor False-Metro who reached the status of cult film, Spinal Tap II: The end continues Mark the reappearance on the big screen of Nigel Tufnel (guest of Christopher), David St. Hubbins (Michael McKean) and Derek Small (Harry Shearer) in all their ridiculous glory. Not to mention the well -intentioned but comfortable director, the documentary filmmaker Martin Dibergi (Rob Reiner), once again tells the group, this time while they are launching into a reunion concert after having broken 15 years ago.

The rest, once again written, or more probably improvised, by the four directors, is closely to the model of the first film. Dibergi, whose career has not exactly prospered after his first documentary Spinal Tap, catches up with the members of the group in their current life: Nigel is the owner of a cheese and guitar shop in northern England; David lives in Morro Bay, California, and composes soundtracks for podcasts on the theme of murder and waiting music; And Derek directs a museum dedicated to Grue, which has its own risk if you are personally determined to demonstrate the exhibitions.

Despite personal differences and persistent resentments, the group heads for New Orleans to make their final broadcast. But they must first find a new drummer, because their previous ones tended to meet unhappy ends. After a series of disastrous auditions and refused by tastes of Questlove, Lars Ulrich and Chad Smith, they find the didi talented and lively (Valerie Franco, entering the anarchic spirit), which naturally does not waste time.

They also have a new man of public relations in the form of pretentious Simon (Chris Addison), whose best advice to the group is one or more of them should die for the sale of tickets. Rehearsing for the upcoming concert, they are visited by light fixtures such as Paul McCartney, whose group’s suggestions are incompanied (“We will take it into account”, Nigel Rénifle) and Elton John, who claims to be a long -standing fan. Various Merch links are launched to the group, including “water water”, which is exactly what it looks like.

The humor is very funny and impassive but, as the above examples indicate, more inducing rich than hysterically funny. As with so many late follow -ups, Spinal Tap II: the end Continuous Mainly ribs on nostalgia and affection for the original, to the point where he includes cameos of veterans of the first film like Fran Drescher and Paul Schaffer. There is also a nod to the late Tony Hendra, who played the manager of the group Ian Faith, with Kerry Godliman like Faith Hope’s daughter. John Michael Higgins, a pillar of the models of Christopher Guest, makes an appearance well received as a brief appearance as a guru of the Jack Lalanne style exercise confronted with the questionable task of putting the members of the Tap Spinal in good shape.

Some gags are esoteric to say the least, such as the members of the group posing for an image exactly like the classic cover of the album Crosby, Stills & Nash, turned by the real photographer, Henry Diltz. Other bits quickly have their welcome, including ghost tours that frequently walks in the house of New Orleans where the group stays.

But there is also a lot to appreciate, with the guest, McKean and Shearer, who have embodied their English characters stupid in many incarnations from the original film, so comfortable and fun in their roles that you cannot prevent yourself from laughing sometimes. Needless to say, the sequence representing the reunion concert is a hoe, in particular the number “Stonehenge”, featuring Elton John giant the main voices, which end even more disastrously than the original.