CinemaSerf

Apr 15, 2026

6.0

Based very loosely on a true story (or lie!), this tells the story of two Dundonian rappers - Gavin (Séamus McLean Ross) and Billy (Samuel Bottomley) - as they strive to escape the mundanity of their call-centre jobs and take their own earthy brand of street-poetry to an unreceptive music industry. They have tried all of the traditional methods of getting noticed, but it is now at the point where even record company receptionists are hanging up on them. That is when they hit on a idea. Why not pretend they are from California? How hard can it be? Well their first go doesn't get them very far, but when they read an ad in the paper they determine to get their backstories straight and try again. Before they know it, 'Silibil 'n Brains' have blagged their way onto a London stage where the are spotted by scout 'Tessa' (Rebekah Murrell). She gets them an interview with her big boss (James McAvoy) who decides to give them their chance. Snag? Well their original plan was to expose the hypocrisies and shallowness of all of this showbiz malarkey and then return home, where Mary (Lucy Halliday) was waiting for boyfriend Billy. Instead, the boys are quickly sucked into the all expense paid life of a star. Drugs, drink, adulation and even some groupies see the two men gradually start to drift from their plan and each other. When Mary comes down to visit them, and then a television interview fails to deliver what she expected, it proves crunch time for the pair as their gig in Glasgow's famed Barrowland Ballroom seems destined to be their make or break moment. I thought Ross delivered quite powerfully here - his character having more of a psychological battle to face as he has to try to reconcile his own aspirations with his love for his best pal - whom he can clearly see is beginning to commit to another, more personal, path. He also works well with the lively Bottomley, but as the story progresses there are fewer opportunities for the pair to own the screen and the critique of the industry takes over. On that score, this does shine an unforgiving light on the parasitic nature of a business that supports plenty of hangers-on and talentless Tarquins and Tamaras whist the artistes themselves make a modest sum or doing all the work, but none of that is especially new or insightful. The film has a charm to it, and some of their actual rapping is energetic, sharp and witty, but there isn't enough by way of characterisation for me as it skimmed along briskly to it's hastily arrived at conclusion. It is good fun, just not quite what it could have been.