Dir: Matt Johnson
Cast: Matt Johnson, Jay McCarrol
In this feature-length follow-up to the cult web series, the Toronto due perfects guerrilla filmmaking, slyly weaving a witty time-travel tale with never-seen-before footage to create a wildly entertaining and hilarious adventure
We may not even be halfway through 2026, but I am convinced I have already witnessed the year’s wildest and most unforgettable feat in filmmaking. The early buzz from TIFF last autumn, where “Nirvanna the Band the Show the Movie” snagged the Midnight Madness People’s Choice Award following its premiere, barely hinted at the madness co-creators Matt Johnson and Jay McCarrol had unleashed. I had never heard of their cult web series from nearly 20 years ago, so it was the film’s offbeat title that first caught my eye. Its chaotic spirit and rough-around-the-edges charm made for the perfect introduction to the most audacious mockumentary I have ever encountered.
For those, like me, who missed both the original web series and its Viceland TV run from 2017 to 2018, the premise is delightfully simple and gloriously absurd. Johnson and McCarrol play exaggerated versions of themselves, scheming endlessly to land their band a gig at Toronto’s Rivoli, despite having no songs. After Viceland pulled the plug post-season two, the duo set their sights on a feature film, with Johnson directing the comedy “Blackberry” in hopes of keeping the dream alive. That was my first encounter with Johnson’s work—a sharp, hilarious take on the rise and fall of the once-mighty mobile giant, where his signature wit and chaotic style perfectly echoed Blackberry’s own rollercoaster ride from humble beginnings to catastrophic decline.
Even after “Blackberry” swept the Canadian Screen Awards, Johnson couldn’t revive “Nirvanna the Band the Show” for a third season. Undeterred, he and McCarrol set out to make their own movie, first imagining a cross-country RV road trip. When that idea fizzled for lack of story, McCarrol suggested they take on one of the greatest titles of cinematic history, and soon they were plotting a wild parody of Robert Zemeckis‘ legendary time-travel adventure, “Back to the Future”.
Using a treasure trove of unused web series footage, Johnson and McCarrol dove back into “Nirvanna the Band” for their most outrageous adventure yet. Their fictional alter egos hatch their boldest plan: the “Seventh Inning Skydive,” in which they leap from Toronto’s iconic CN Tower into the adjacent SkyDome during a Blue Jays game to promote their band. But when the stadium roof slides shut mid-dive, the stunt flops spectacularly, leaving Jay even more exasperated with Matt’s wild ideas.
Fed up with Matt’s endless schemes, Jay secretly lines up an open mic gig in Ottawa, while Matt transforms their RV into a makeshift time machine to convince the Rivoli they are actual time travellers. When Jay heads out, unaware that Matt is asleep in the back, the RV suddenly whisks them back to goth-riddled days 2008. Discovering that a spilled bottle of Orbitz triggered their accidental journey, the duo scramble to snag another bottle from their younger selves—without blowing their cover—and of course, seize this bizarre chance to finally score a gig at the Rivoli.
All I can say is this time-travel comedy is an absolute riot, and it has sent me down a rabbit hole to discover everything Johnson and McCarrol have ever made as “Nirvanna the Band”. While die-hard fans will catch plenty of call-backs and inside jokes, the real magic of “Nirvanna the Band the Show the Movie” is how it welcomes newcomers with open arms. I never once felt lost; the leads are so instantly relatable and well-drawn that their ambitions and misadventures make perfect sense from the start. Matt and Jay perfectly capture the spirit of a generation clinging to childhood dreams, refusing to surrender to adulthood. After seventeen years of failed attempts, they still chase stardom, holding tight to the pop culture of their youth and sidestepping the realities of grown-up life. Their fixation on playing the Rivoli is a throwback to a time before viral fame, and their stubbornness means the digital age passes them by—especially Matt, who keeps chasing his fantasy even though the band has no songs, let alone a setlist.
Their relentless pursuit of a lost cause feels utterly believable thanks to the electric chemistry between these two friends. Matt’s delusions of grandeur and belief that life is a movie fuel his wild ideas, while Jay’s weary, grounded presence makes him the perfect foil—he is the voice of reason, yet still gets swept up in Matt’s madness. After years of indulging Matt’s Rivoli obsession, Jay’s growing scepticism offers a fresh entry point for newcomers to their dynamic.
The true genius of “Nirvanna the Band the Show the Movie” shines through Johnson’s inventive direction. With only a shoestring budget and a tiny crew of four to eight members, he blurs the line between fiction and reality, pulling off a time-travel caper right on Toronto’s bustling streets. Hidden cameras capture unscripted chaos, as real locals become unwitting extras and obstacles, adding a thrilling sense of risk and authenticity. Johnson’s clever use of never-before-seen web series footage lets him and Jay appear as their younger selves, sidestepping the expense of Hollywood de-aging effects. The use of old cameras is ingeniously justified in the narrative to bridge the visual gap between the past and the present, preventing the jump from stock, web-series footage, to contemporary footage from being jarring.
The extremes these filmmakers reach for their art are a testament to what passion and vision can achieve on a shoestring budget. While I would never suggest aspiring directors risk life and limb atop the CN Tower, this film stands as a shining example of how far creativity can stretch limited resources. Johnson deserves immense credit for this modern cinematic triumph.
The film tiptoes along the razor’s edge of copyright infringement, boldly referencing the iconic 1985 sci-fi comedy “Back to the Future” on numerous occasions. Johnson and McCarrol flirt with legal peril, but their sharp business instincts shine as they cleverly shield their work under the umbrella of parody, invoking fair use protections under US law. In a wink to the audience, Matt breaks the fourth wall with, “If you’re watching this in theatres, thank your lucky stars.” Despite dodging lawsuits, the film has faced an uphill battle to secure a widespread theatrical release. After a brief North American run earlier this year, it landed on digital platforms last month, but its journey in the UK and Europe has suffered even further, with distribution still remaining out of reach.
For those lucky enough to catch the film outside North America, it was probably at a festival. I urge Neon or any distributor to give “Nirvanna the Band” the European recognition it deserves and let the rest of the world in on the fun. Canada should not keep this gem to itself.
The Verdict:
Matt Johnson and Jay McCarrol have conjured pure filmmaking magic with their feature-length leap in the “Nirvanna the Band” series. It is rare to witness guerrilla filmmaking this daring, inventive, and audacious—now or in the years ahead. If you stumble upon a chance to experience this sparkling time-travel comedy, seize it without hesitation.
Dan Loves Film 
Very nice.
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