The 2020s have been filled with “nostalgia sequels” like “A Christmas Story Christmas,” “Beetlejuice Beetlejuice,” “The Exorcist: Believer” and “Spinal Tap II: The End Continues.” Nostalgia sequels are hit or miss. Sometimes it’s fun revisiting beloved characters under new circumstances: Seeing a mature Ralphie share his holiday experiences on the adult magic-giving side of Christmas as opposed to the childhood magic-receiving is beautiful. Other times, it’s sad and disheartening watching beloved heroes grow old, like Indiana Jones in “Dial of Destiny.” I think “Spinal Tap II” fits the first category — a nostalgia sequel done well.
The film follows up “This Is Spinal Tap,” a 1984 mockumentary that, while not the first, was incredibly influential on the genre. It chronicled the American tour and shenanigans of fictional British rock band Spinal Tap. Even if you’ve never seen it, you’ve definitely heard its famous quote: “These go to eleven.” The sequel picks up forty years later, with Tap forced out of retirement to perform one last concert under an overlooked contractual obligation.
“The End Continues” was directed by Rob Reiner (“The Princess Bride”) who also reprises his on-screen role as film director Marty DiBergi. The English rockers are played by Americans Christopher Guest (guitarist Nigel Tufnel), Michael McKean (singer David St. Hubbins) and Harry Shearer (bassist Derek Smalls). Valerie Franco joins the cast as Didi Crockett in the ill-fated drummer role. These actors thrive on improv, with the majority of the film unscripted, allowing for authentic dialogue. Further, their improvisational aptitude was highlighted by their commitment to conduct all media interviews and film promotion in character.
I had reservations going into “The End Continues,” fearing it would be a soulless cash-grab exploiting nostalgia and unsure how it could add something substantial to the original. Thankfully, it surprised me in story and quality; it’s a riot. After a long legal battle over rights, in 2021, all intellectual property ownership returned to the four creators, after years of them not earning royalties from the film or music.
One thing I liked about the film is that it shows what the band members are doing in their post-music life. Smalls owns a glue museum, St. Hubbins runs a cheese shop and Tufnel does minor music jobs. Throughout the film, these interests influence the characters and are running jokes. I enjoyed this character development beyond their rock personalities.
The film features many celebrity musician cameos that surpass “Oh! Look it’s Paul McCartney,” but rather serve story purposes. For example, while searching for a new drummer, the band fails to recruit drummers Questlove (The Roots), Chad Smith (The Red Hot Chili Peppers) and Lars Ulrich (Metallica). Garth Brooks and Trisha Yearwood appear in a short clip covering Tap’s song “Big Bottom,” explaining the sudden spike in interest in the band amongst younger listeners. Paul McCartney and Elton John both play larger roles in the film with substantially lengthier scenes. McCartney jams with the band, offering advice they ultimately reject. John joins Tap both in rehearsals and on-stage during the concert at the end of the film, performing his version of Tap’s anthem “Stonehenge.” However, his fate in the film is rather disastrous, as he and Tap are wounded by an overly large (compensating for the 1984 mistake) Stonehenge prop malfunctioning.
My primary complaint with the film is that it barely spends time at the ending concert. Sure, I know it’s not the focus, but the ending feels very sudden and abrupt. The first film’s humor leans into concert mishaps, like the band being unable to find the stage. Those iconic moments aren’t in “The End Continues,” and I would’ve liked to see more on-stage action.
The film brings a new Tap album and songs. My top new track is “Let’s Just Rock Again,” a self-aware tune recognizing the fact the band is getting older. Smalls’ solo effort “Hell Toupee” is a strange, albeit comedic, beat (if the joke doesn’t register, say “Hell Toupee” aloud). John and McCartney both have songs on the album, with John’s “Stonehenge” being simultaneously absurd and incredible. Across the board, the album’s vibe is authentically classic rock and the lyrics are authentically Tap levels of comedic.
Tap’s legacy isn’t over. A third project, “Spinal Tap at Stonehenge: The Final Finale,” filmed at Stonehenge in August 2025 and releasing theatrically in 2026, is a concert film featuring Tap’s final performance with appearances by Eric Clapton, Shania Twain and Josh Groban.
Overall, the film is a worthy successor to the original. As with most sequels, there’s an argument for why it shouldn’t exist, but “The End Continues” positively adds to the band’s lore and story. The humor is great, the acting is phenomenal and the cameos are star-studded — it’s an all-around good time. I say: Rock on!
