Margaux comes to mind

Rating: 9/10 (7 September 2006)

The nuances of this classic seem wasted on a first-time watcher, though, over time, one appreciates that the hair-brained idiocy of the group is in fact a subtly refined aspect of rock- star behaviour. Each detail is conceived so as to replicate the puerility of stardom in the early 80s, and indeed it is a timeless critique of all those who take themselves too seriously. The beauty of the narrative is that it would work as well as a series of sketches as it does as a film. Such is its continuity that we are deeply aware of the downfall of this band, as much as we are of each instance of their estuary simplicity. The ease with which Hubbins distances his most implacable friend in the penultimate stages of the film is indicative of his deep seated vulnerability, which he so transparently tries to hide. Perhaps this is the whole conceit of Spinal Tap. Buffoons are portrayed, yet they are at least sensitive and unwitting ones with whom we can sympathise. Like a Margaux, with each viewing we glean yet more insight into the complexities that underlie their outward aspect. Though to be sure, like a fine wine we must not get too carried away with the esoteric balderdash that pseudos are sure to attribute to it. Nor should we be tempted to overrate it.