The cultural legacy of the 1984 Rock-Mock Doco “This is spinal tap” is of sufficient breadth that, to give the band's guitarist, Nigel Tufnel (Christopher Guest), his loses, has already passed the 11.
Citable Perealia, perfectly promoted with British accent for guest co-creators, Michael McKean and Harry Shearer and referred to an iconic parody of director Rob Reiner, “Spinal Tap” was born. The film ridiculed (and, cunningly, promoted the cause of) the idiots of the metal world, but also the love of an industry for a satisfactory return saga.
When your false film becomes the truth of the Gospel of admiring musical legends and a forgotten failure band, Wembley is touched in real life, the thin line between intelligent and stupid (again, so quotable) suddenly seems like a rare space for a sequel to exploit.
However, when key comic minds behind that unique shipping of first -price glory applicants aim to revive their magic, “Spinal Tap II: The End continues” leaves one thinking that some classics are better in their original and infinitely reproducible states.
It is not that the view, 40 years later, of the sweetly clueless Tufnel, McKean's spiny leader, David St. Hubbins, and the man of Shearer fans, Derek Smalls, which meets for a last concert, will not activate a low -downed smile of 83 minutes in length. But the concept of Tap being revered (by the cameos of the legend Paul McCartney and Elton John, nothing less) solves the comedy of external tension, which makes something closer to a long -lasting exit reel than a new version of clowns notoriety.
At first, there is a pleasant nonsense when seeing where the trio has landed in their lives alone, from the renowned retail store of Dreamer Nigel's Cheese-And-Guitar Shop to The Fringes of the Recording World, where David translated to California is composing telephone music. At the moment, you can see the special sauce of the illusion of the personality that the guest, as director, became a mini genre (“Waiting for Guffman”, “Best in Show”, “A powerful wind”). But when the daughter of Tap de Dead's manager, Ian Faith, Hope (Kerry Godliman), having inherited Dad's contract, forces the members to meet in New Orleans for a sand show, everything loses an essential odd energy, trying to cost in the fumes of a masterpiece.
Gag edges are traps. The famous mortality problem of the drummer is a good example, which uses its understandable to revive with Star cameos (Questlove, Lars Ulrich) and a mediocre test assembly. Then, after the hiring of an energetic young replacement (Valerie Franco), a humor opportunity is lost when we wonder why he is not going back to have to play songs like “Bitch School”. Even the band's second opportunity in a Stonehenge Showstopper is more as a joke alone in the name.
The three cables can still, when they are given space, generate an atmosphere of anything, even if the improvising pearls are scarce. But there are many cases in which the promise of comic friction is little cooked or ignored and the new strains of insufficient madness (such as when the usual guests John Michael Higgins and Don Lake) appear never rise.
The funniest addition, because it feels really pointed on the environment, is Chris Addison as the aggressive promoter of the Simon band, who is proud to be waterproof to enjoy music, and tells our septuagenarian rockers that by posterity, ideally, two of them should die during the show. Fortunately, nothing in “Spinal Tap II” will kill the original legacy. It is just a nostalgia return that you want to have more 11.
'Spinal Tap II: The end continues'
Qualification: A, for language that includes some sexual references
Execution time: 1 hour, 23 minutes
Playing: In broad release on Friday, September 12
