co—written by irvine welsh, produced by danny boyle and starring ewen bremner, you could be forgiventhat this has something of a trainspotting feel. i have a dream! indeed, mcgee comes across as basically a more successful version of spud, someone whose kamikaze style enthusiasm for class a narcotics leads him not into a gutter in edinburgh, but to a swanky poolside terrace in la. now you've had one of the biggest bands in the world, where does it go from here? played in his younger years by leo flanagan, and by bremner as an oddly childlike adult, mcgee's biggest breaks seem to be down to chaotic fate. with his unswerving belief that each new signing will be bigger than u2, he somehow stumbles into a position of immense cultural importance, helping to define the era of britpop and gaining access to the corridors of power under tony blair's new labour tony blair's new labour where everything starts to unravel. directed by nick moran who previously did a brilliant job with thejoe meek story, telstar, this is entertaining if inevitably self mythologising fare. bremner is clearly having

co—written by irving welch, produced by danny boyle and starring ewan bremner, you could be forgivenhave a dream! indeed, mcgee comes across as basically a more successful version of spud, someone who is, style enthusiasm for class. enthusiasm for class a narcotics leads him not into a gutter in edinburgh, but to a swanky poolside terrace in la. now you have one of the biggest bands in the world, where does it go from here? played in his younger years by leo flanagan, and by bremner as an oddly childlike adult, mcgee's biggest breaks seem to be down to chaotic fate. with his unswerving belief that each new signing will be bigger than u2, he somehow stumbles into a position of immense cultural performance. helping to define the era of britpop and gaining access to the corridors of power under tony blair's new labour where everything starts to unravel. directed by nick moran who previously did a brilliant job with thejoe meek story telstar, this is entertaining if inevitably self mythologizing fair. bremner is clearly having a ball in the lead role, but it's the supporting characters w

played in his younger years by leo flanagan, and by bremner as an oddly childlike adult, mcgee's biggest breaks seem to be down to chaotic fate. with his unswerving belief that each new signing will be bigger than u2, he somehow stumbles into a position of immense cultural performance. helping to define the era of britpop and gaining access to the corridors of power under tony blair's new labour where everything starts to unravel. directed by nick moran who previously did a brilliant job with thejoe meek story telstar, this is entertaining if inevitably self mythologizing fair. bremner is clearly having a ball in the lead role, but it's the supporting characters who often steal the show. from a former skids front man richard jobson as alan's overbearing dad, to jason isaacs in a rip—roaring cameo as a coke addled producer. it's a biopic, forrest gump meets boyz n the hood. personally, i could have lived without the somewhat hackneyed staged interviews, and for all its excesses, there's little sense that this gets under the skin of its la rger—than—life subject. but like many of the bands

ewan bremner is clearly having a ball, but the supporting characters often steal the show.

ewen bremner is so, i thought he would get me, sort of get me, but he hasn'tjust sort of got me, he hashings, he's absolutely got it. the creation story could never be complete without one band in particular. # people say it's just a waste of time # they said i should feed my head # that to me...# yeah, so i'm from near manchester and i'm also a city fan, so i'm very familiar with noel and his voice. ijust kind of recapped through all of his interviews, especially between �*92 and �*96, because that's the period we are focusing on, really, so i went through a lot of those. met him yesterday, that could count as a bit of research, maybe. i've been to a few of his gigs, so, yeah. what was it like actually meeting the man himself, that you're portraying on screen? it wasjust how i'd imagined him to be. the film is intended to be a celebration, not just of the 1990s, when creation was at its height, but for music fans in general who recognise just how influential so many of those bands are today. # don't look back in anger, i heard you say...# the �*90s were a prolific period for artistic e

co—written by irvine welsh, produced by danny boyle and starring ewen bremner, you could be forgivenose kamikaze style

ewan bremner is clearly having a ball, but the supporting characters often steal the show. richard jobson is the overbearing dad and jason isaacs in a rip—roaring cameo as a coke addled producer. personally, i could have lived without the somewhat hackneyed staged interviews, and for all its excesses, there's little sense that this gets under the skin of its la rger—than—life subject. but, like many of the bands that mcgee champions, this is entertainingly bolshie fare. loud, brash and absolutely full of itself. creation stories is on sky cinema from saturday. it's a book. it's a little more than that. open it. you bought drugs from yourself? i had to beta test it. sticking with substance fuelled lifestyles, silk road retells the story of self—proclaimed dark web pirate ross ulbricht who made a fortune setting up what was effectively amazon for drugs. a site where narcotics could be bought, sold and even customer rated, all under the anonymity of bitcoin currency. that's 1.2 million a day. likeable love simon star nick robinson plays the real—life entrepreneur whose liberta

co—written by irvine welsh, produced by danny boyle and starring ewen bremner, you could be forgivenpoolside terrace in la. now you've one of the biggest bands in the world, where does it go from here? played in his younger years by leo flanagan, and by bremner as an oddly childlike adult, mcgee's biggest breaks seem to be down to chaotic fate. with his unswerving belief that each new signing will be bigger than u2, he somehow stumbles into a position of immense cultural importance, helping to define the era of britpop and gaining access to the corridors of power under tony blair's new labour where everything starts to unravel. directed by nick moran who previously did a brilliant job with thejoe meek story, telstar, this is entertaining if inevitably self mythologizing fare. bremner is clearly having a ball in the lead role but it's the supporting characters who often steal the show. from former skids frontman richard jobson as alan's overbearing dad, to jason isaacs in a rip—roaring cameo as a coke addled producer. it's a biopic, forrest gump meets boyz n the hood. personally, i co

ewen bremner is so, i thought he would get me, sort of get me, but he hasn'tjust sort of got me, he hass, so, yeah. what was it like actually meeting the man himself, that you're portraying on screen? it wasjust how i'd imagined him to be. the film is intended to be a celebration, not just of the 1990s, when creation was at its height, but for music fans in general who recognise just how influential so many of those bands are today. # don't look back in anger, i heard you say...# the '90s were a prolific period for artistic endeavour. i think it reminds everyone, i hope this film will remind everybody what a great decade that was and how their mums and dads were at one point very cool. of course, mcgee's success didn't last forever. where does it go from here? # get your rocks off, get your rocks off, honey. he never again achieved the height of a quarter of a century ago. # don't look back in anger, don't look back in anger. but he can look back at an extraordinary career. and thanks to the new film, music fans to now have another chance to fondly remember a remarkable time for british