Forty-one years after the release of the groundbreaking mockumentary This Is Spinal Tap, the now estranged bandmates David St. Hubbins, Nigel Tufnel, and Derek Smalls (Michael McKean, Christopher Guest, and Harry Shearer) are forced to reunite for one final concert. Spinal Tap II: The End Continues also marks the resurrection of documentarian Marty DiBergi (Rob Reiner), who once again tries to capture his favourite metal gods as they contemplate mortality and wrestle with their chequered past to put on a concert that they hope will solidify their place in the pantheon of rock ’n’ roll

But can a sequel to one of the most revered comedies of a generation exceed its own lofty expectations by living up to the beloved original?

NMTBP finds out

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. David’s still playing music, though now for a broader audience (no spoilers!), while Derek also runs a store and has some sort of crypto side hustle; it’s all a bit confusing

The trio eventually (and awkwardly) reunite in New Orleans to prepare for the big show, which involves finding a new keyboardist (C. J. Vanston, a longtime real-life collaborator of Guest’s) – and, of course, a new drummer. That’s the band’s toughest challenge in the early stages, given how we learn early on in the movie that Spinal Tap’s grand total of deceased drummers now goes to 11!

This leads to a Zoom-powered merry-go-round moment where Questlove, Chad Smith from Red Hot Chili Peppers, and Lars Ulrich all pass on the gig (all three men demonstrating some solid chops when it comes to deadpan delivery), followed by the discovery of Didi Crockett (Valerie Franco), who almost steals the film, thanks to both her incredible drumming skills and her positive attitude

Franco isn’t given a lot of heavy-duty comedy to perform, but as Didi, she brings such joy and energy to the screen, while also bashing the drums as if they were responsible for overturning Roe v. Wade. In a just world, Spinal Tap II will break her out in a colossal way

As with the original, this isn’t a roll-in-the-aisles comedy. The humour here is built as much on nuance and wordplay as anything else, zeroing in on the sublime ridiculousness of the music industry

It also squeezes as much mileage as it can out of its numerous cameos, most memorably from rock luminaries Paul McCartney and Elton John

Also figuring prominently is New Orleans itself, which serves as the backdrop for Reiner’s film. There are the obligatory beauty shots of Jackson Square, Lafayette Cemetery No. 1 and other postcard-worthy images. But Reiner goes deeper.

The band’s temporary rehearsal space, for example, is at Bywater Studios on Dauphine Street (the one adorned with Brandan “BMike” Odums’ striking crayon kid mural). Their reunion concert is at Lakefront Arena, which audiences of a certain age will remember as the real-life local epicentre of arena rock back in the day

At one point, legendary local bluesman Little Freddie King gets a few moments to shine as a French Quarter busker

Certainly, we could quibble that not every punchline lands as intended. A joke about Stormy Daniels, for example, already feels dated. We could also question whether Sirs Paul and Elton are really the most appropriate on-stage match for heavy metal gods like Spinal Tap

That being said, there is an intimate interview sequence between Nigel and Marty with a ridiculous reveal that will have you giggling for several minutes. No catchphrases emerge from it, but that doesn’t negate the power of two legendary comedic talents reminding us all how skilled they are at playing a moment. It’s one of many delightful beats played out for just the right amount of time, escalated with laser-sharp precision

The music still rocks, too, with new tracks like Rockin’ In the Urn proving as catchy as they are funny. Granted, Hell Toupee might fall more into the category of silliness, but Let’s Just Rock Again, The Devil’s Just Not Getting Old, and even little improvised ditties like NOLA House Song reaffirm that Guest, McKean, and Shearer’s musical talents have not faded with age

In the end, it all amounts to something of a cinematic victory lap, but one played with finesse and just enough fresh material to make the encore worth it. In a world of bloated reboots and soulless sequels, Spinal Tap II: The End Continues earns its place on the setlist