SPINAL TAP II: Fairly Funny But No Instant Comedy Classic

SPINAL TAP II: THE END CONTINUES
(Dir. Rob Reiner, 2025)

Okay, let’s get this out of the way. I haven’t even looked at other reviews yet, but I know many of them are going to address whether or not this movie goes to 11. Of course, this refers to the famous scene in the 1984 comedy masterpiece, THIS IS SPINAL TAP, in which lead guitarist, Nigel Tufnel (Christopher Guest) explains that his amplifier’s volume knob goes one louder than most amps. So, I’ll say upfront that, no, the new sequel, SPINAL TAP II: THE END CONTINUES, doesn’t go to 11, but it’s a solid seven. 

 

Reprising his role as filmmaker Marty Di Bergi, Rob Reiner brings us up to date on the career of Spinal Tap in the 40 years since the original as Britain’s loudest band is lured out of retirement for one last concert, a contractual obligation to their deceased manager Ian Faith (played in the first film by Tony Hendra, who passed in 2021). While the band had performed some high-profile gigs – Wembley Stadium, Royal Albert Hall, and Glastonbury (these were real concerts) in the following decades, they had a falling out, and haven’t spoken in 15 years.

 

In the meantime, David St. Hubbins (Michael McKean) composed instrumentals for podcasts and for telephone hold music; Nigel Tufnel runs a cheese and guitar shop with his girlfriend Moira (Nina Conti), and Derek Smalls (Harry Shearer) curates a glue museum. There’s friction when the three re-unite for their show at New Orleans’ Lakefront Arena, which continues into their rehearsals that make up the bulk of the film.

 

That’s what there is of the plot, but is it funny? Well, yes, though I mildly chuckled more than laughed out loud. Most of the proceedings left me with a smirk as Reiner, who co-wrote with Guest, McKean, and Shearer reassemble many of the beats from the original, and catch us up with what happened to a number of their supporting players, including Fran Drescher as Bobbie Flekman, Paul Shaffer as Artie Fufkin, and June Chadwick as St. Hubbins’ ex-wife, Jeanine Pettibone.

As I’ve been a huge fan since seeing THIS IS SPINAL TAP on opening night at the Varsity Theater in Chapel Hill in 1984, I had fun seeing these people again, and had a warm, fuzzy feeling when lines landed, but also felt some cringe when things were more awkward than amusing.

One thread that didn’t exactly kill was the new character of concert promoter Simon Howler (Chris Addison), who is clinically unable to appreciate music. This premise doesn’t pay off, and the conclusion to the character’s screen-time is far from satisfying. Spinal Tap’s young new drummer, Didi Crockett (Valerie Franco) is affably spunky but also doesn’t fare as very funny, but they didn’t give her much to do except when it comes to the climatic concert sequence. 

Faring better are cameos, as a scene featuring Sir Paul McCartney joining Spinal Tap in the studio for a rendition of their faux ‘60s song, “Cups and Cakes.” St. Hubbins’ reaction afterward is hilarious as he feels the famous former Beatle has a “toxic personality.”  Elton John’s appearance isn’t as funny, but he brings it onstage for the big “Stonehenge” finale where they finally have the right size dimensions for the stage prop.

As a fairly funny film, SPINAL TAP II: THE END CONTINUES does continue the vibe of its predecessor, but it’s a little too loose and lazy to come anywhere close to the original’s comedy classic status. Mileage will vary on how big a fan of the fake band one is, as so much of the sequel relies on how well one knows what went down the first time.

I liked, but didn’t love what Reiner, Guest, McKean, and Shearer did here, but it’s still better than I expected. It’s great that this and the NAKED GUN reboot (which honestly is much funnier), are showing that comedy can make a comeback to the movies, so here’s hoping that’s what will really continue.

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R.I.P. David L. Lander, Who Was So Much More Than Squiggy

For some reason, I was hit by the death of comic actor David L. Lander just as hard as I have the recent passings of musical heroes, and other entertainment legends. It might be because I think I saw every episode of Laverne & Shirley when I was a kid, listened repeatedly to the album Lenny & Squiggy Present Lenny and the Squigtones (that’s its full title), and named the first cat I ever adopted and had for 16 years, Squiggy. One of those. All of them. 

Although the title of this post declares that Lander was so much more than the character of Andrew “Squiggy” Squiggman, this is where we’ll begin as that’s how this performer is best known. Hell, the name Squiggy may likely be on Lander’s gravestone. 

Lander portrayed the goofy greaser for eight seasons, encompassing 178 episodes from 1976-1983. Lander and his friend, Michael McKean, came up with the characters when they were college buddies at Carnegie Mellon University in Pittsburgh, then called Carnegie Tech. In 2007, Lander told Lanny Swerdlow of the Marijuana Anti-Prohibition Project that they created Lenny & Squiggy when they were high. 

Apart from entertaining friends with the improved antics of the duo at parties, Lander and McKean didn’t do much with them until 1975, when they were recruited by Penny Marshall, and her brother, producer Garry Marshall, to play Lenny & Squiggy on the sitcom, Laverne & Shirley. They were the upstairs neighbors to Marshall as Laverne and Cindy Williams as Shirley, and there was a running gag to their entrances long before Kramer made his boundryless bursts through Jerry’s door on Seinfeld in the ‘90s. 

You can get the idea from This YouTube montage of many of their entrances:

One of my favorite things that Lander and McKean did with the characters was the aforementioned album by Lenny & the Squigtones. The record features a live performance, recorded at the Roxy in LA in 1978, by the duo with a band (actually including Spinal Tap’s Nigel Tufnel). The songs are both hilarious and solid, and highly recommended - you can hear the whole album here.

Preceding Laverne & Shirley, both Lander and McKean were in the Los Angeles-based comedy group, The Credibility Gap. Lander joined the now little known outfit in 1969, followed by McKean in 1970. Harry Shearer, who would later go on to work with McKean in THIS IS SPINAL TAP, was also a major member, and through club appearances, radio appearances, and the making of several albums helped keep the project afloat until the late ‘70s. 

Their records are well worth seeking out as The Credibility Gap, seen above with Shearer, Lander, founder Richard Beebe, and McKean, really gave ‘70s era comedy competitors like Firesign Theater and National Lampoon a run for their money, and there’s a fair amount of their material on YouTube – maybe not enough for a rabbit hole deep dive though. This is one of my favorite bits – Lander and Shearer presenting a re-write/update of Abbott & Costello’s classic “Who’s on First” routine. Somehow the sketch makes more sense as it uses the real rock band names of The Who, Guess Who, and Yes for its premise:

For a while there, it looked like Lander and McKean were going to be inseparable comedy partners as they were in multiple movies together including CRACKING UP (Lander’s first film), 1941, and USED CARS. But in the early ‘80s they went their separate ways with McKean starring in a run of movies like SPINAL TAP, CLUE, EARTH GIRLS ARE EASY, and, one of my favorites, Christopher Guest’s first film as director, THE BIG PICTURE, while Lander became an ace voice actor for such animated projects as Galaxy High School, A Garfield Christmas Special (he was later on The Garfield Show), WHO FRAMED ROGER RABBIT, Johnny Bravo, A BUG’S LIFE, SpongeBob SquarePants, and too many more to mention. To cap off this look at Lander’s voice-over output, he re-united with McKean in cartoon form on the Nickelodeon show Oswald in the early 2000s. 

This is not to say Lander couldn’t be regularly seen in live action as he did guest spots on almost every TV show you can name from the ‘80s to the Aughts. He put in appearances on The Love Boat, Highway to Heaven, Matlock (yay, Matlock!), Simon & Simon, Married…with Children, Star Trek: The Next Generation, Head of the Class, Family Matters, The Nanny, Nash Bridges, Sabrina the Teenage Witch, and even a recurring role (well, three episodes) on Twin Peaks! 

Lander contributed many memorable bit parts in movies, but his most notable is certainly his role as Radio Sportscaster in Penny Marshall’s 1992 hit, A LEAGUE OF THEIR OWN. The character was perfect for him as he was a huge baseball fan, and was later a talent scout for the Anaheim Angels, and the Seattle Mariners. 

But it all comes back to Squiggy. I had long thought that his last portrayal of the iconic greaser weasel was a surprise cameo with McKean on Saturday Night Live in 1994. The occasion was a sketch entitled Quentin Tarantino’s Welcome Back Kotter, which took advantage of the show’s host John Travolta at the height of PULP FICTION popularity - hence the guns.

I was wrong about that being the guy’s finale as Lander reprised Squiggy in a 2002 episode of The Simpsons:

There’s also the fact that he played Principal Squiggy in SCARY MOVIE, but I’m not sure I want to count that. 

So Lander, who died at the age 73 from complications from multiple sclerosis, was a much loved comic actor who put an undeniable stamp on pop culture, though it’s one that will sadly fade as what kid is watching Laverne & Shirley these days? He’d definitely fit in with this blog’s Actors You Recognize, But Don’t Know Their Name series, as even those who grew up with him only know him as Squiggy. 

Maybe I shouldn’t have said that he “Was So Much More Than Squiggy” because he often referred to himself that way as in his 2002 book, Fall Down Laughing: How Squiggy Caught Multiple Sclerosis. Maybe I should have said he was “Squiggy & More.” 

As Lander said back in 2007, “Whatever happens, MS can't take it all.” 

R.I.P. David L. Lander

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10 Classic Albums That Only Exist In The Movies

It's time for another random list! This one focuses on the fictitious output by fictitious musicians in the movies. Sometimes you don't get to see an album cover by the character of the artist (I don't remember seeing any of the albums by Jeff Bridges' Bad Blake in CRAZY HEART for example), but I'm always amused when we are lucky enough to get a glimpse of their records' art. Here's 10 that caught my eye:

1. “Rock and Roll Creation”: Spinal Tap This is one of several albums we see throughout Rob Reiner's rock documentary satire THIS IS SPINAL TAP (1984). The others were “Shark Sandwich,” “Intravenus de Milo,” “The Sun Never Sweats,” and “Brainhammer” which all had convincing looking ‘70s-style art. In the extremely funny film, Reiner, as director Marty DiBergi, reads an excerpt from a review (of course fictitious) of the album to the band that has this priceless quote: “This pretentious, ponderous collection of religious rock psalms is enough to prompt the question “What day did the lord create Spinal Tap, and couldn’t he have rested on that day too?”

2. “Black Sheep”: Dewey Cox John C. Reily's Dewey Cox goes through every musical phase, many borrowed from other artists, imaginable in Jake Kasdan's music biopic parody WALK HARD: THE DEWEY COX STORY (2007). During his Brian Wilson/SMiLE psychedelic period he records what some consider his masterpiece: “Black Sheep.” The album cover heavily cribs from the Beatles' “Yellow Submarine” soundtrack's cover from '68 as much as the song riffs on Wilson's SMiLE sessions lunacy.

3. “Time Will Come”: Jack Rollins Christian Bale takes on Bob Dylan in Todd Haynes' I'M NOT THERE (2007) on this mock-up that offers a variation on Dylan's 1964 classic “The Times They Are A-Changing” album cover. The burlap fabric aesthetic is a nice touch.

4. “The Freewheelin’ Bob Roberts”: Bob Roberts Tim Robbins' directorial debut BOB ROBERTS (1992) also re-did Dylan on this and all of his conservative folk-singing Senate candidate characters' album covers that pop up throughout the splendid political satire. This one obviously skews Dylan's 1962 classic “The Freewheelin’ Bob Dylan” but it edits the girl on the voice of a generation's arm for a guitar and replaces the aloof distant shoe-gazing with a stride of pride.

5. “Rogers and Clarke: In Concert Live!” It's a stretch to say that this would be a classic because it was a flop in the world that Elaine May's ISHTAR (1987) takes place in - the final shot/joke of the movie has the album listed at a “Special Low Price” in the window of what looks like a Tower Records. I love how the album is titled “In Concert Live!” with an exclamation point (so loved by those who used to title live albums). Incidentally ISHTAR is out of print on DVD, but it's coming out on Blu ray at the end of this month! I'm just disappointed that it's not a Criterion Collection release. Sigh.

6. “Calling It Quits”: Mitch Cohen There are lots of phony album covers in Christopher Guest's folk music reunion mockumentary A MIGHTY WIND (2003), but the art for Eugene Levy's Mitch Cohen character's solo album “Calling It Quits” is my favorite. It's just waiting to be used as the cover of a mix CD of depressing hurting heart songs, and I love how it looks like it could really be one of those singer-songwriter era divorce albums of the '70s. 

7. “To Begin With”: Stillwater Another fake release that looks authentically '70s, the Allman Brothers-ish looking album takes its title from a line in Cameron Crowe's ALMOST FAMOUS (2000) that the fictitious rock band on the rise Stillwater was the subject of: When asked by Patrick Fugit as a young Rolling Stone reporter what he most loves about music, Billy Crudup's guitarist character responds: “To begin with...everything.” A soundbite of these lines is used in one of the intros for the popular radio show Sound Opinions.

8. “Nagelbett”: Autobahn In the Coen brothers' cult classic THE BIG LEBOWSKI (1998), Jeff Bridges' iconic character The Dude learns that the group of nihilists that are behind the kidnapping caper were once in a Kraftwerk-style band called Autobahn. Maude Lebowski (Julianne Moore) has their album in her vinyl collection and says of it “Their music is a sort of, ugh, techno-pop.”

9. “Spanish Fly Fisherman”: Coconut Pete Sure, this fake cover is just a throwaway joke in a clunky comedy, Broken Lizard's followup to their much funnier SUPER TROOPERS, CLUB DREAD (Dir. Jay Chandrasekhar, 2004), but since the list is winding down I thought I'd throw it in. Just like the next one.

10. “Ted Striker's 400 Polka Favorites”: Ted Striker 

Speaking of throwaway jokes: In Ken Finkleman's AIRPLANE II: THE SEQUEL (1982), a moon station officer (Sandahl Bergman) tells William Shatner as Commander Buck Murdock that she's pulled Ted Striker's record. Shatner asks: “How is it?” Bergman: “I don't think you're gonna like it, sir.” (Pulls out “Ted Striker's 400 Polka Favorites”) Shatner: “That's worse than I thought.”

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Soundtrack September: 10 Favorite Fake Film Bands

As a concluding piece for Soundtrack September here's another patented Film Babble Blog list. Despite that this is something that's been covered a lot on the internets (see fakebands.com for example), I decided to put my own personal spin on it. Now, I tried to avoid bands that began on television, like, say, The Blues Brothers or Dr. Teeth and the Electric Mayhem, but #1 on this list itself originated on a TV special so that was difficult to do. For the most part though these are fictional groups introduced to us on the silver screen. So here they are:

Film Babble Blog's 10 Favorite Fake Film Bands

1. Spinal Tap from THIS IS SPINAL TAP (1984)

I know, it's an incredibly obvious choice but this list wouldn't exist without David St. Hubbins (Michael McKean), Nigel Tufnel (Christopher Guest), and Derek Smalls (Harry Shearer) as one of England's loudest bands and stars of Rob Reiner's cult classic rockumentary. Their soundtrack set the template for music parodies while the film's faux documentary style is still a vital formula today (see The Office). Now celebrating their 25th anniversary Tap still tours, usually with the Folksman (also consisting of the same folks) from A MIGHTY WIND opening and have just released a new album: "Back From The Dead" so the line fine between fantasy and reality gets more and more blurred as time goes on, or is it the fine line between stupid and clever I'm thinking of?

2. Max Frost and the Troopers from WILD IN THE STREETS (1968) James Dean lookalike Christopher Jones fronts this great group of rowdy rebels (including future Ohio Senator Kevin Coughlin and future famous funnyman Richard Pryor) in this teen exploitation flick that's as ridiculous as it is fun. Here's a clip of Jones, Jim Morrison style, lip synching "Shape Of Things To Come" which was actually a #22 hit on the US Billboard charts:

Incidentally songs credited to Max Frost and the Troopers were on the soundtracks to the Dennis Hopper film THE GLORY STOMPERS and Jones' AIP film followup THREE IN THE ATTIC.

3. Circus Monkey from BANDWAGON (1996) As the focus of a funny and touching portrait of a indie band just starting out, Circus Monkey (Kevin Corrigan, Steve Parlavecchio, Lee Holmes, and Matthew Hennessey is an endearing quartet of indie underdogs. I'm biased about their inclusion because the movie was filmed in my area by NC native John Schultz (formerly a member of the Connells) with a gig set at Cat's Cradle in Carrboro as well as a climatic concert filmed at the Rialto theatre in Raleigh, but I still strongly stand by the choice - their songs (especially "It Couldn't Be Ann") are catchy and their story a heartfelt one. Sadly it has never been released on DVD but here's the trailer to tide you over until it is:

4. The Fabulous Stains in LADIES AND GENTLEMEN, THE FABULOUS STAINS (1981)

A great girl group shoo-in from one of my favorite could be cult films that came up in another recent list. Again in the interest of space check out my original review.

5. Eddie and the Cruisers in EDDIE AND THE CRUISERS (1983)

My pal "Pinball" put it best in his essay for Soundtrack September in the previous post. Read it here.

6. The Wonders in THAT THING YOU DO! (1996) Tom Hanks directorial debut features the fab fascimile of The Wonders - literal one hit wonders (like you couldn't figure that out) that had one catchy ditty that actually became a real life hit (# 41 on the Billboard Top 100). The band consisted of Tom Everett Scott ("the smart one"), Johnathon Schaech ("the talent"), Steve Zahn ("the fool"), and Ethan Embrey (uh, the unremarked upon one). The film is a guilty pleasure I usually stop on when changing channels - the title song is so damn catchy!

7. The Five Heartbeats in THE FIVE HEARTBEATS (1991) Robert Townshend's homage to the heyday of Motown, with obviously the Four Tops and Temptations as template, is another film that wore its way into my heart through multiple cable airings. The music and merit within definitely give DREAMGIRLS a run for its money - "A Heart Is A House For Love" recorded by the Dells (another obvious influence) is a Helluva song.

8. Stillwater in ALMOST FAMOUS (2000) This 70's arena rock band was concocted out of stories about interaction with such bands as the Eagles, the Allman Brothers, and Lynyrd Skynard (among others) during Cameron Crowe's days as a teenage journalist for Rolling Stone magazine, but they still seem like a real living breathing entity mainly because of his angsty autobiographical angle. Stillwater, which features Jason Lee and Billy Crudup as its Plant/Page or Glimmer Twins or what have you, only had one song on the official soundtrack: "Fever Dog" written by Heart's Nancy Wilson (also Crowe's wife).

9. Citizen Dick from SINGLES (1991) Matt Dillon's Cliff Poncier is definitely in the right place at the right time - in a grunge band in Seattle in the early 90's. With a wardrobe and songs written by Green River/Pearl Jam's Jeff Ament as well as all of Pearl Jam as fellow band members, Dillon has more than a little help from his friends. None of Citizen Dick's songs are on the soundtrack but "Spooner" written by Soundgarden's Chris Cornell can be heard in an acoustic version can be heard in the background at one point.

10. Otis Day and the Knights in ANIMAL HOUSE (1978)

Another seminal band that started out fake but got real after the fact. The Delta's toga party favorites, fronted by Dewayne Jessie, put out an album produced by George Clinton called "Shout" in 1989 and have been touring as "the number one party band in America" to this day.

Okay! One last special mention: Autobahn in THE BIG LEBOWSKI. The nihilist Kraftwerkian band consisted of Flea, Peter Stormare, and Torsten Voges. Sure we never hear a note of them * but damn that album cover ought to count for something!

* Correction: We do actually hear "Wie Glauben" - supposedly an Autobahn tune in the movie and the soundtrack album. From composer Carter Burwell's notes at carterburwell.com: "The story also involves a band of nihilist Germans, and in their final scene their music is playing on a boombox. For this I wrote "Wie Glauben" ("We Believe" in German) a techopop tune."

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Aging Struggling Metal Band Hasn't Spinal Tapped Out

ANVIL! THE STORY OF ANVIL (Dir. Sasha Gervasi, 2008) A handful of rock documentaries including METALLICA: SOME KIND OF MONSTER and DiG! have been dubbed "the real life Spinal Tap" before, but this examination of who one fan calls "the demi-Gods of Canadian metal" definitely comes the closest to resembling that seminal 1984 hard rock doc satire. From the shining silver lettering of the band name to their over the top stage antics (I can totally see Nigel Tufnel playing a guitar with a dildo) to the mishandled gigs and then there's even the drummer's name being Robb Reiner, so we've definitely got a winner in the true-life Spinal Tap sweepstakes. Hell, their amps actually go to 11 and they even go to Stonehenge - not just sing about it.

The thing is, these are real guys who have struggled in the low tiers of heavy metal for years and through all the hilarity a touching pathos forms for their perseverance. Now in their 50's, guitarist/frontman Steve "Lips" Kudlow works for a children's catering company while Reiner does odd construction jobs between tours that are becoming less and less frequent. Lips is the de facto narrator taking us through a disastrous European tour complete with a screaming irate manager, poor attendance, and non paying promoters. A bit down, but not out, they return home to focus on making their 13th album which involves raising a hefty sum in order to secure studio time with infamous metal producer Chris Tsangarides.

They squabble during production yet are immensely proud of the disc they deliver. Trouble is, no record label wants it so they distribute it themselves. In the end, just like in THIS IS SPINAL TAP, there's always Japan. Filmed lovingly by a former roadie (who incidentally went on to co-write the screenplay for one of Steven Spielberg's worst movies: THE TERMINAL), ANVIL! THE STORY OF ANVIL (love that wonderfully redundant title) isn't just one of the best rock documentaries of the last decade, it's one of the funniest films I've seen in ages - I laughed so hard that tears flowed at an 80's clip of Anvil appearing on some afternoon "issues" TV show (think a destitute woman's Sally Jessie Raphel) with the lyrics of an early crude song ("Toe Jam") being soberly recited. And speaking of tears, I was surprised to see so many shed by the participants (mostly Lips and his family members) throughout this film. It's weird but, I actually care about this band now (honestly though, I don't think I'll listen to their music) and think it's great they are on the movie map. Metal heads and casual movie-goers alike (which means just about everybody) ought to dig it. It's a hilarious and touching movie about pursuing one's dreams, at all costs (or none), even if they appear to be adolescent pipe dreams to a huge portion of the population. Pete Townshend once said: "Rock 'n roll can't solve your problems, but it can help you dance all over them." With ANVIL! make that "fist-pump and thrash" all over them too.

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10 Movie Posters That Completely Co-opt Others Original Designs

This is a sequel of sorts to a post I did earlier this year (10 Of The Most Misleading and Mis-representing Movie Posters Ever!) with one of the same posters mentioned and the same theme of mis-marketing dominating.

Recently the publicity for the new pop-doc AMERICAN TEEN included a poster that directly recreates the iconic poster image for the classic 80’s teen angst flick THE BREAKFAST CLUB. The similarity was so blatant that it made many folks (including me) think it was a retitled remake:


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You see? To be fair AMERICAN TEEN has another poster design out there that’s more original, but the one above is still too close for comfort. This is a pretty common device that calls for another patented Film Babble Blog list: 


10 Movie Posters That Completely Co-opt Other Poster’s Original Designs
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1. THE BIG ONE appropriates MEN IN BLACK and suffers legal action for it - That’s right the image for Michael Moore’s self indulgent book tour doc was ruled too similar to the design for the Will Smith/Tommy Lee Jones sci-fi vehicle so a judge ruled that Miramax had to remove the posters from distribution. The taglines: “Protecting the Earth from scum of the universe” from MEN IN BLACK and “Protecting the Earth from the scum of corporate America” from THE BIG ONE would probably be dismissed by most of us as parody not copyright infringement but Columbia Pictures’ lawyers thought differently.

2. FLETCH LIVES for some reason regurgitates GONE WITH THE WIND - This lackluster sequel did itself no favors by placing Chevy Chase’s Irwin M. Fletcher character into the framework of one of the most famous films of all time. Not sure the thinking here, did they really think it was a good idea to equate the camera-mugging wise-ass with a suave Rhett Butler in the thralls of a tragic romance while Atlanta burns? I suppose the GONE WITH THE WIND design is just a device for selling the

--> -->‘Fletch inherits a Southern Plantation’ premise and I should cut them some slack for trying to wrap a failed follow-up in something resembling a classy package.

3. WHERE IN THE WORLD IS OSAMA BIN LADEN? macks on the art for RAIDERS OF THE LOST ARK - Meticulously copying the entire design right down to the typefaces and every detail of the amazing Amsel painting done for the 1982 re-release of RAIDERS OF THE LOST ARK, Morgan Spurlock’s much lambasted quasi-poli-doc tries to align itself with the same globe trotting heroic splendor of the Spielberg classic but just ends up looking desperate. I haven’t seen WHERE IN THE WORLD... but not being a fan of SUPER SIZE ME or Spurlock’s television work makes me ambivalent at best to it with this uninspired poster design putting me off even further.

4. THIS IS SPINAL TAP jumps on the back of AIRPLANE! - This one I wrote about before in the Most Mis-leading Movie Posters post mentioned above, noting that director Rob Reiner remarked: “They marketed it with a guitar flying in the air with a twisted neck which looked like the poster for AIRPLANE! It looked like it was trading on another film.” There were many more comedies that were marketed with crazy ‘flying in the air’ imagery - the Zucker Bros. own NAKED GUN movies kept the concept alive for another decade after SPINAL TAP.

5. PROBLEM CHILD crassly copies PARENTHOOD - A mere months after Ron Howard’s family comedy was a hit came this tasteless anti-family comedy with a poster design that mocks the former’s switching the roles and supposedely doubling the laughs. Not a bad advertising approach mind you, I'm sure many rented one after glancing at the video box thinking it was the other.

6. DEAD HEAT duplicates GOODFELLAS - This one is really annoying. Same dark design with 3 protagonists posing above a street scene and the same typeface shows a complete creative bankruptcy on the side of the promotional department.

The utterly forgettable Keifer Sutherland crime thriller that somebody on the IMDb message board called “SEABISCUIT meets GOODFELLAS” could not come close to competing with Scorsese’s masterpiece so seeing them try is painful.

7. ROCK ‘N’ ROLL HIGH SCHOOL re-amps NATIONAL LAMPOON’S ANIMAL HOUSE - Lots of crude sloppy comedies have likewise Mad Magazine derived designs but the folks behind marketing the Ramones’ film debut didn’t look very far for an angle here - they just went with what worked for the previous years teen gross-out blockbuster. Squint and you’d think you’re seeing the same picture (especially with the tiny examples I’ve provided here).

8. WHEN HARRY MET SALLY redoes ANNIE HALL (as does the movie) and begat a flood of rom com movie marketing - A couple in a hesitant yet sexually tense moment always makes for a good poster picture for a romantic comedy,

right? Well just add a city skyline (most often New York, duh!) underneath and now you’re talking. Dozens upon dozens of recent rom coms have used this type imagery including SLEEPLESS IN SEATTLE, TWO WEEKS NOTICE, MAID IN MANHATTAN, ALEX & EMMA (also Rob Reiner), etc. Oh yeah, the Dudley Moore / Mary Steenburgen movie actually named ROMANTIC COMEDY had a similar image too.

9. CLOVERFIELD marks on THE DAY AFTER TOMORROW’s territory - The Statue Of Liberty gets a lot of abuse in the world of movie posters. In CLOVERFIELD its head gets blown off (same thing is shown

on ESCAPE FROM NEW YORK’s poster incidentely) and a long shot view shows us a stormy New York in turmoil. Looks a lot like the same painting style and tone used in THE DAY AFTER TOMORROW’s the Statue Of Liberty under ice image. The poster for the upcoming sludge through bad pop culture spoofs DISASTER MOVIE features our long suffering statue getting drowned in a tidal wave. Hard job it is being a giant symbol of freedom I guess.

10. TRANSFORMERS apes PLANET OF THE APES - Why would anybody want to recall the roundly rejected Tim Burton remake of the Charleton Heston “damn dirty ape” classic with a poster image that looks nearly identical? It seemed like TRANSFORMERS would’ve had its own shiny take on the aesthetics and wouldn’t have to stoop to this so was it unfortunately unintentional? Did somebody think the look and angle of the Ape design was cool and thought it was either forgotten or needed to be re-done and re-purposed? Whatever the deal, I can still barely tell them apart.

Okay! Now, I know there are lots of movie posters that have co-opted the designs of others that I missed so feel free to comment away.

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