After its big, sweet behind-the-music doc “This Is Spinal Tap” hit in 1984, the world’s loudest rock group went relatively quiet. The group had good times, bad times (it had drummer problems) and a lotta love after the release of its tour video. Yet soon after, these British icons scattered like dust in the wind. Those who love rock’n’roll were left wondering if the now-estranged musicians — the singer-guitarist David St. Hubbins, the guitarist Nigel Tufnel and the bassist Derek Smalls — could come back from the dead. “It’s better in a hell hole,” to quote “Hell Hole,” an old Tap hit. “You know where you stand in a hell hole.”
Well, never say never: Tap is back, more or less, though often less, even if sometimes less is more. Its latest release, “Spinal Tap II: the End Continues” will surprise exactly no one, not a single living or dead soul. Yet in a troubled world, there’s something, if not much, to be said about reuniting with entertainers whose dedication to themselves, their craft, comedy and love of the mockumentary format remains the same. Yes, it takes a while for David (Michael McKean), Nigel (Christopher Guest), Derek (Harry Shearer) — as well as the documentary filmmaker Marty DiBergi, a.k.a. Rob Reiner — to find a groove, but they do with help from some reliable old pals and new guest stars.
But enough of my yakking, as DiBergi once said, let’s boogie. The excuse for the new movie, beyond the usual, including an inevitable streaming release, is the death of Tap’s old manager. In hope of carrying on his legacy or just cashing out, his daughter, Faith Hope (Kerry Godliman), helps instigate a Tap reunion, and before long DiBergi is tracking down the band with a crew in tow. You soon learn that while the Tap members have indeed gone their separate ways, they’re still flying their freak flags. Nigel, for instance, now runs an artisanal cheese-and-guitar shop with an alarmingly dwindling clientele. Its logo features a wee guitarist atop a wedge of cheese.
The filmmakers stick to the documentary approach that they used in the first movie, mixing interviews together with you-are-there-style scenes of the guys chatting with impressively straight faces. DiBergi catches up with David, who’s still playing music, though now for a broader audience. (No spoilers about that!) For his part, Derek also runs a store and has some sort of crypto side hustle; it’s all a bit confusing. In time, the members agree to reunite for one final, really, truly, concert in New Orleans, which adds a touch of touristic atmosphere. Quite a bit of what follows involves getting the rusty Spinal Tap machine repaired, reoiled and mostly running with help from the likes of Sir Elton and Sir Paul.
It’s almost always pleasant to hang out with old friends, particularly when no one overstays their welcome. The good news about “Spinal Tap II” is that everyone involved seems to have understood the assignment, which makes for a genial 83 minutes of soft jokes and jowls. There’s nothing here that will make you gasp in convulsive laughter, despite some promising new material (“Hell Toupee”); it is difficult to capture lightening in a bottle twice, the way that Tap did with classics like “Gimme Some Money,” “(Listen to the) Flower People” and, my personal favorite, “Big Bottom.” Even so, nostalgia is a powerful drug, one that, as Nigel could tell you, goes nice with some Brie (and a blunt).
Spinal Tap II: The End Continues
Rated R for language. Running time: 1 hour 23 minutes. In theaters.
Manohla Dargis is the chief film critic for The Times.
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