The spirit of executive producer Danny Boyle looms large over Creation Stories, a biopic of Scottish businessman Alan McGee, whose influential Creation Records label launched such acts as Primal Scream, My Bloody Valentine and Oasis. Trainspotting seems a conscious influence on director Nick Moran’s film, from the editing style and frenetic pacing to Irvine Welsh being one of its screenwriters. The presence of Ewen Bremner as McGee only hammers home the connection.
But there’s another filmmaker looming over Creation Stories. Someone who also made a largely comedic, self-reflexive biopic concerning a British record label head who was inspired by seeing Sex Pistols perform, which covered a similar period of time: Michael Winterbottom. Speeding through three decades’ worth of events but lacking any actual momentum, Creation Stories is like a version of 24 Hour Party People gone horribly wrong…
Full review for Little White Lies
From homegrown filmmakers who’ve gone on to international acclaim to features that make evocative use of its towns, cities, communities and landscapes, Scotland’s cinematic output has always been particularly rich. Excluding movies that you can currently only watch digitally by renting or buying them (sorry to The Wicker Man, Whisky Galore! and most of Bill Forsyth’s efforts), here are some of the best Scottish films you can stream right now…
Full feature for the BFI
The second feature from writer-director Eliza Hittman, Beach Rats concerns Brooklyn teenager Frankie, who, unbeknown to his family, his macho boardwalk-dwelling friends and a potential new girlfriend, is navigating an interest in cruising with older gay men he meets online.
It’s rare for an actor’s first feature film role to involve them being the focus of every scene, and British newcomer Harris Dickinson is a revelation as Frankie. “I thought I was ready to take on a lead role in a feature and be able to carry it on my shoulders,” he says of the project’s demands. “And I think I was, but it was inevitably still daunting with the pressure that came with that.”
Full interview for the BFI