It’s all in the details. So much of what works about the best mockumentaries comes from the smaller actions rooted in the work these performers do to craft incredibly idiosyncratic characters. Sure, some notable moments from 1984’s This Is Spinal Tap feel like pure magic (“These go to 11”), but the sheer commitment to a bit can make an entire film work when it comes to properly editing what I can only imagine are hours of improvised footage boiled down to a competent 80-ish minute narrative. Spinal Tap II: The End Continues makes the smart move of holding onto this idea. Rather than lazily attempt to recreate what worked the first time, these returning performers naturally bring back the rhythms of these characters and apply them to older versions in a film happy to reflect on legacy and their bonds. It’s also really funny, and full of great moments that speak to both the dry humor shared by this crew and the wacky bits they clearly also love.
Following a break-up 15 years earlier, the film follows the efforts of Rob Reiner’s documentarian Marty Di Bergi to help bring the three key members of the legendary rock band Spinal Tap back together. You see, we learn early on that the band’s now deceased manager, Ian Faith (the late Tony Hendra), had them contractually obligated to play one more gig. Ian’s daughter, Hope Faith (Kerry Godliman), wants to see this stipulation fulfilled, following the sudden viral success of one of the band’s older songs as performed by Garth Brooks and Trish Yearwood (the start of many musician cameos).
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While the first film was all about getting to know the band by way of their “Smell the Glove” concert tour, Spinal Tap II is about catching up with where the band is now, what sort of relationships these guys have with one another, given their history, and if they can pull off at least one more big show. The structure is welcome, as we know there’s an achievable goal in sight, so it becomes a matter of whether these guys can pull it off. That means practicing, finding a new drummer (the unluckiest role in Spinal Tap), and ideally not having everything fall apart, whether that means practically or psychologically.
Obviously, plotting is not the most significant aspect of this film, but having seen so many legacy sequels to comedies that just want to play the hits, repeat jokes from the previous movie, and stuff a bunch of cameos in for the sake of showing off celebrity fans, it’s worth noting just how successful Spinal Tap II is at getting past those pitfalls. If anything, not having to work with a major studio plays to this film’s advantage, as the ambitions can only go so far, and keep what we’re seeing in line with the previous film’s similar lo-fi means of production (though I will note that none of this stops the music from being great throughout).
Of course there are some references to the 1984 classic, because we’re dealing with the same characters, but it speaks to the writing abilities, let alone the improve abilities of Reiner and stars/co-writers/producers Christopher Guest, Michael McKean, and Harry Shearer, that a clear amount of effort went into consider what an evolution of these characters would actually look like, what their legacy would look like to others, and what kinds of admirers (celebrity or otherwise) they would have. Yes, it’s stunt casting to bring in Paul McCartney and Elton John into the mix (and both are quite game to play along), but the film doesn’t come to a halt or feel desperate because of their appearances.
It should be noted that this is Rob Reiner’s best feature film in 30 years. Yes, the guy is a mensch and a wonderful personality, but following his debut with This is Spinal Tap, which led to an all-time run of great features (Stand By Me, The Princess Bride, When Harry Met Sally…, A Few Good Men, etc.), he just stopped delivering at the same level. Whether or not this means we can expect more great stuff from Reiner, I have no idea, but seeing him and this group deliver something that feels so confident and comfortable in how to derive comedy pleasure is a real joy to behold.
With that in mind, while the comedy delivers (at the very least, this movie is always consistently amusing), I was so happy to see the level of heart that there is here. This is not at all foreign to the work of Reiner and Guest in their various mockumentaries, but it is great all the same to watch these rock stars in their own world, showing how they’ve come to find joy in their lives separately. Guest’s character, Negel Tufnel’s decision to open a cheese shop, and see that he’s happily married, may be the most satisfying, but the film’s choice to watch him show concern with how to rekindle a friendship with McKean’s David St. Hubbins (who now composes music for murder podcasts), speaks to real humans lurking underneath their image.
At 84 minutes, Spinal Tap II: The End Continues is not looking to waste any time. It gets off to the races quickly, and bounces so many characters off each other that the laughs are sure to overwhelm at times. It’s not the fresh and original film that has stood the test of time, but it’s far from a phoned-in mess either. Instead, this is a comedy sequel that manages to pull off being a new iteration rooted in how things have changed over time, and what can now be regarded as a fun time at the movies, even when considering how old everyone has gotten. That said, it’s never too loud if you’re having fun, and it’s certainly never not fun if you’re constantly laughing.
Spinal Tap II: The End Continues opens in theaters on September 12, 2025.
