November 13, 2022
Stars Daniel Radcliffe, Evan Rachel Wood, Rainn Wilson, Thomas Lennon, Spencer Treat Clark, Julianne Nicholson, Toby Huss, Arturo Castro, Will Forte, Jack Black, Lin-Manuel Miranda, Diedrich Bader, “Weird Al” Yankovic.
What else would a movie about the life of song parody specialist “Weird Al” Yankovic be but a spoof of musician biopics?
Based on a fake trailer posted by Funny or Die in 2010, Weird: The Al Yankovic Story pokes fun at the music scene and pop culture in the 1980s.
It begins with a young, misunderstood boy whose parents discouraged his dream of writing goofy new lyrics for established songs, telling him that, for the sake of the family, he should “stop being who you are and doing the things you love” and get a job at the local factory.
Instead, the adult Al Yankovic (Daniel Radcliffe) moves to Hollywood with a passion for the accordion, but is rejected by the record labels. Taking his talents to open mic nights at bars, he’s discovered by novelty act radio broadcaster Dr. Demento (Rainn Wilson), and quickly becomes the bad boy of the music industry, sparking a relationship with Madonna (Evan Rachel Wood) that takes him down a dark path and a confrontation with drug kingpin Pablo Escobar.
Needless to say, almost none of this actually happened. But the film is a treasure trove of laughs for fans of Yankovic’s songs who will most appreciate the meta humor on display. For instance, in Al’s first meeting with the brothers who run his record label, one of them berates him as a worthless, no-talent hack while the camera cuts to the other brother, who is played by the real “Weird Al,” wincing in discomfort at the insults.
But the film’s best scene might be a take-off on the pool party from Boogie Nights, as Al is introduced to the wacky menagerie of the offbeat personalities and oddballs of the 1970s and ’80s, and is challenged by Wolfman Jack (a precision cameo by Jack Black) to come up with a parody song on the spot, which Al defiantly does to cement his path toward becoming a legend.
However, Al quickly becomes disenchanted by his success as a parody artist, and endeavors to create his own original songs. So after a drug-infused vision straight out of The Doors, he writes “Eat It,” leading to one of the film’s better running jokes that posits musicians such as Michael Jackson are actually parodying Yankovic’s songs. (There’s a bit of irony here as the real-life Yankovic has plenty of originals in his catalog, though still in a humorous vein.)
Just to complete the journey of his life’s work, Yankovic contributes a new song for the end credits, as no blockbuster would be complete without a new tune cynically produced for awards-season bait.
There is nothing here to be taken seriously, but plenty to appreciate for the hilariously dumb fun that it is, just like Yankovic’s music.