‘Nirvanna the Band the Show the Movie’ review: An indie ‘Back to the Future’

Whether you’re already on the inside or new to the party, the Canadian meta-comedy “Nirvanna the Band the Show the Movie,” about a music duo’s epic undiscoveredness, shows little audience favoritism as it ping-pongs between timelines, formats, realities, cultural shout-outs and its two indefatigable lead characters. Make that four leads, since director and co-writer Matt Johnson and his composer-best friend Jay McCarrol each play themselves twice, thanks to archival footage presented in this zippy mockumentary as evidence of time travel.

Don’t be confused. Or rather, be confused but adventurously so! Especially if you aren’t familiar with the cult web series from which this film derives. Indie-savvy viewers might know Johnson’s work from the moon-landing conspiracy lark “Operation Avalanche” or the cheeky docu-dramedy “BlackBerry,” both of which he directed and acted in. But there’s no getting around the fact that if you haven’t encountered them before, then for a good while they’ll come across as Motormouth Clown in a Fedora (Johnson) and Understated Guy at the Piano (McCarrol).

With three Ns to their band name (no relation to a slightly better-known group), a dream of booking Toronto’s longstanding live venue and only a cluttered suburban home to show for it, the duo’s act seems primarily to be coming up with boneheaded ideas for exposure. Johnson’s latest bolt of inspiration is for them to parachute from the top of downtown Toronto’s 2,000-foot CN Tower into the open Rogers Centre stadium below, a plan which meets with amusingly alarmed concern from a very real employee at the hardware store. It’s the first of many encounters with unsuspecting citizens, à la the oeuvre of Sacha Baron Cohen.

Though their stunt fails — yet succeeds for us as a piece of guerrilla filmmaking wizardry — it spurs Johnson toward an even crazier notion: time traveling in an RV to 2008 to change their fates and secure their inevitable fame. Think “Back to the Future” and think about it a lot, since from here on out, that 1985 classic becomes this movie’s lodestar of structural, comedic and musical reference. (McCarrol’s enjoyably overwrought orchestral score shouts out to composer Alan Silvestri.)

That the filmmakers could play against themselves using video of the 2008 versions of their characters (when they had the web series) is undeniably clever, if not always the laugh riot it promises to be. But it also helps foster the jealousy-driven farce that takes over the current-day narrative and is genuinely funny: a rejiggered timeline in which McCarrol becomes a massive pop star and Johnson gets left behind.

Invariably these wacky scenarios will be more amusing to longtime fans, for whom a frantic climax akin to the lightning-meets-DeLorean ending of “Back to the Future” will play like nostalgia for nostalgia. To the uninitiated, though, even amid steady laughter and a sneaking concern for this silly friendship to right itself, it may come off as much ado about who knows what.

But Johnson is nothing if not a punchy ringmaster of deadpan humor and his grab-bag mindset generates enough goodwill to appreciate the DIY brashness of it all. I’m one of those who had no clue of this act’s history and I’m fairly certain I’d look forward to “Nirvanna the Band the Show the Movie the Sequel.”