Best movie of this year hands down!

A brilliant film that helped define a genre

Clever, believable, and super fun to watch. It totally has replay value.

The film never slows down or bores, plunging from one harrowing sequence to the next.

Live Forever takes it's title from a 1990's song from the band Oasis, one of the premier English acts from the period 1991 - 1997, which is roughly the era this film hopes to chronicle. It does a fine job of highlighting the major players of the period, especially the bands Oasis and Blur.The problem here is that sometimes the film feels as though it is only the "Blur and Oasis Show". Other groups of the period, such as Supergrass, Elastica, Pulp, Suede, etc., are mentioned, but one sometimes has the feeling that they are perceived as supporting players to the big story. In addition, if you are not of a political bent, you may find the linking of the movement to future British Prime Minister Tony Blair to be a drag on the film. While it is relevant to what was going on, you may find yourself wishing for a few extra minutes of band footage, or footage of the audience of the times.In addition, you may be put off by the (quasi) American bashing of some of those being interviewed. In England, Britpop was king, but in America it skimmed the surface for the most part, which will make some of the claims of a worldwide phenomenon seem grandiose. Still, as a primer for those interested in discovering something new, this film is a solid place to start.

Live Forever is a worthwile attempt at documenting the interesting post-Thatcher revival in British music exports to the US, labelled as Britpop by the NME and other such music magazines. Previous comments have already highlighted the emphasis that the film places on Oasis, and especially on Noel Gallagher's commentary on the scene and the times, but what else (realistically) could you expect from a film that uses an Oasis song as its title, made by a director that makes no secret of his adoration for the band. Nevertheless, I was shocked to note that the film earmarks a Stone Roses festival gig as the genesis of Britpop, and makes no reference to the debt that the Gallaghers, Liam especially, owe to Shaun Ryder's bands the Happy Mondays and Black Grape.Petty gripes aside, the film makes a clear and unashamed attempt to link the musical revival of Britpop with the revival of the Labour ideology - an easy task when Noel Gallagher is a valued customer at number 10. However, I believe that the political link that the film tries to make is at best tenuous, and at most non-existent. Specifically, Live Forever falls victim to its own hyperbole - that the music, created by youngsters who grew up during Thatcherite rationalisation, was among, if not the most important aspect to the general political and social change that ended God-knows how many years of Tory rule. I believe that the film deflates a little with this argument - it sort of chokes on its own self-importance. As for the rock stars, only Jarvis Cocker comes out of the film with an improved stature. Damon Albarn seems bitter, twisted and fed up (all traits of the archetypal great artist I might add), Noel Gallagher is the original hypocrite as he puts on his best working class whinge while sitting in an antique armchair surrounded by the trappings of newfound wealth, and I won't even bother with Liam.Before I close, I should mention that despite my own whinges, I actually did like this film. It was funny, poignant and affecting in turns, and it dealt with a subject that was very close to my heart. I can only say that I am glad that no mention was made of Radiohead or PJ Harvey.

"Live Forever" is a brave attempt to document what has come to be known as'Britpop'. Unfortunately, it fails miserably. Most of the 82 minutes running time is devoted to the band Oasis, and the band's frontmen, Noel & Liam Gallagher - is Liam Gallagher that much of a dimwit? While Damon Albarn, and Jarvis Cocker,leaders of Blur & Pulp, respectively, don't get too much of a look in. In fact, after sitting through "Live Forever", you could be forgiven for thinking these were the only bands around.

STAR RATING:*****Unmissable****Very Good***Okay**You Could Go Out For A Meal Instead*Avoid At All CostsAs a documentary and study of how the British music scene evolved throughout the decade I was growing up in,the 90s,Live Forever is a nigh-on unmissable filmic experience,detailing all the music and events that shaped this unforgettable period,and ,for me at least,delivered an effective and affectionate piece of nostelgia.From the doped out Stone Roses gig at the start of the decade,to Oasis's What's the Story? (Morning Glory) becoming the fastest selling album of all time,the subsequent Blur vs. Oasis rivalry that ended up getting a mention on the News at Ten,Noel (but not Liam) Gallagher's invite to No.10 and,right toward the very end of the decade,the non-stop taking over of manufactured pop bands such as S Club 7,and their spin offs,er,S Club Juniors.And of course,other country/world shaping events such as the end of Thatcher's reign,Kurdt Cobain's suicide,Tony Blair being elected the new Prime Minister and the death of Princess Diana.All these important events are played out absorbingly to the distinctive,memorable soundtrack of the times.We get to hear from the singers who shaped the period,and their thoughts and feelings on what they thought of it and how it changed their lives.Blur are described as a band that epitomised the culture of lads who'd left school with no qualifications,were doomed to a future drawing the dole and who would only be likely to hang around in parks drinking cider all day,with melodies like Park Life,Girls and Boys and Country House.Their frontman Damon Alburn ends up coming across in real life as ultimately shy and undisclosing,in contrast to his band's rivals Oasis,whose frontmen the Gallagher brothers are infamously opinionated ond out-spoken.Noel has a big mouth on him,that's for sure,but he's without question the more diplomatic wing of the brothers Gallagher.Liam is a bit more articulate than usual here,but still comes across in his usual yobbish manner.Still,poetic justice is served up when he's made to look daft by not knowing the meaning to the term 'androgynous',and when he ultimately shoots himself in the foot in the end by singing the praises of,of all people,S Club Juniors.And Pulp frontman Jarvis Cocker appears to have become retiring and disillusioned in comparison to his hey-day of extroverted stage antics (not least the Michael Jackson incident).He provides some interesting commentary on how his music was inspired and how music shaped events during this period.The over-riding feeling throughout it all,however,is that the Brits were tired and felt patronised by all the overseas American music that was dominating the charts and how we wanted to show we could produce damn fine music of our own,thank you very much.And indeed we did.For anyone who has affectionate memories of or who grew up in this time,this is absolutely must see stuff.But even if you don't fall into either of these categories,it's still a well-researched,absorbing,insightful,thorough and funny experience.And thankfully (though undeniably weirdly) there's not a mention of the Spice Girls in it.****