Weird: The Al Yankovic Story

After building a career as the master of pop-song parody, Weird: The Al Yankovic Story finds its namesake lampooning musical biopics.

Rather than recapping the facts of Yankovic’s life and career, this affectionate tribute is more of a surreal fantasy that satirizes his image as a goofball folk hero. In the process, it gives him the spotlight he has always deserved.

The problem is that, like many of “Weird” Al’s iconic numbers, this scattershot throwback silliness — co-written by Yankovic and director Eric Appel — is more mildly amusing than consistently hilarious, and its deadpan absurdity becomes repetitive after about the first chorus.

The nerdy Al (Daniel Radcliffe) aspires to achieve fame as an accordionist who rearranges popular songs into polka parodies — “My Sharona” becomes “My Bologna,” for example.

Initially dismissed as a one-trick hack, Al and his ragtag band eventually gain a following, though never the approval of Al’s overbearing father (Toby Huss). An obscure radio deejay named Dr. Demento (Rainn Wilson) becomes his manager and mentor.

Gradually it strays deeper into reimagining Yankovic’s life as a global star who hobnobs with celebrities, rescues his girlfriend Madonna (Evan Rachel Wood) after she’s kidnapped by drug cartels, and writes original compositions so legendary that others want to rip them off.

Steeped in campy nostalgic excess, the over-the-top film uses its subject’s freewheeling spirit to poke fun at traditional biopics about socially awkward outsiders following their dreams in the cutthroat music industry, only to become undone by a downward spiral of drugs and big egos.

There are cameos galore, including a naysaying record-label executive played by Yankovic himself with a self-deprecating wink: “Nobody wants to hear a parody song when they can hear the real thing for the same price,” he barks.

Lin-Manuel Miranda shows up as a doctor. So do Jack Black, Conan O’Brien, Quinta Brunson, and Patton Oswalt in bit parts.

As with the film itself, Radcliffe’s committed performance channels Yankovic’s infectious enthusiasm rather than dwelling on the factual details.

Weird thumbs its nose at Weird Al’s lack of recognition for his unique instrumental talent and inventive lyricism, not straining to make a case for his legitimacy as a musician and a comedian.

Devotees might not care that the film lacks much genuine insight or emotional depth. However, it’s an acquired taste that’s unlikely to convert a new generation of fans — not that Yankovic seems to care.

Rated PG-13, 108 minutes.