It was a time of political change, when, after long Conservative rule, people were looking forward to the future, and Cool Britannia filled a cultural hole. There was bizarre art from the likes of Emin and Hurst, and a vibrant music scene filled with "jolly" Blur tunes and Pulp's off-kilter takes on the working class. But it was Oasis's meteoric rise and the simultaneous "Lad" cultural stereotype they embodied that really gripped the nation's youth (both male and female). Live Forever offers interviews with the Gallagher brothers (who actually come across as sound geezers), Damon Albarn (who fares less well, and it becomes clear where director John Dower's commitment lay in the big Britpop battle) and the sublime Jarvis Cocker (who really should have become more of a cultural icon). Although Britpop ended after a blitz of cigarettes and alcohol, its place is sealed in music history. Just as The Filth and the Fury has become the must-see documentary on punk, Live Forever may well become the defining film of the 90s generation. --Nikki Disney

Roll back to '91. The Stone Roses are in hiding (trashing their record company's HQ might not have been the smartest move they ever made). Nirvana burst onto the scene, and (quite rightfully) gain a lot of attention. Only one problem. A load of other awful bands came with them. Select magazine do a 'Best of British' issue, Brett Anderson goes on the front cover standing in front of a Union Jack (a bold move, given what happened to Morrissey) and Britpop effectively begins its' reign of terror.

What makes 'Live Forever' so different to most documentaries is that it doesn't rely on one man tediously droning on about this happening here, and that happening there. John Dower made the brilliant move of staying behind the camera, and keeping his contributions to a minimum. In his place, he puts the major players in the movement, and leaves them to tell the story. It's more like a film than a documentary, with a cast (not the band, thankfully) telling the story.

The 'cast' do a wonderful job. Using the Oasis tribute band Wonderwall was a stroke of genius. They are nothing but hilarious, especially when talking about the origins of their bands' name ("What's a Wonderwall, Dean? It was supposed to be written about his bird at the time, Meg Matthews, weren't it? What, wallface? What the fuck does that mean? You saying I've got a face like a wall?") and why they chose Oasis over Blur ("'Woo Hoo! When I feel heavy metal...Woo Hoo!' So that's why.") Jarvis Cocker plays the perfect role of the English eccentric, proving once and for all that he deserved much more attention than Damon Albarn, who exposes himself as the trite, self-opinionated wanker I've always suspected him of being (Stop trying to pretend you didn't like Tony Blair, Damon. I was there. You had to have your tongue surgically removed from his backside). It also features the most unlikely looking music journalist ever. Seriously, when he swears, you'll be shocked.

The real stars of the show, however, are the Gallagher brothers. Noel puts a lot of stories to rest, including the furore over 'Be Here Now' ("If you don't like, fuckin' sell it. You'll get four or five quid for it, I should imagine. Come round to my house and I'll sign it for you. You'll probably get a tenner then") and what he thinks of S Club Juniors ("I thought they were some kids from a special needs school hanging around the recording studio 'cos it were free food or summat."). Liam, meanwhile, explains why Noel really went to Downing Street ("'Cos he's fucking mad fer it, innee?"). Liam is also responsible for the funniest moment in the entire film, where Dower tells Liam he has an androgynous quality about him, and has to explain to him what it means (Liam: "You mean I'm a bird?")

All in all, Live Forever is all that a documentary should be; informative yet entertaining. I thought I knew a lot about what happened, but I did learn a couple of new things. If for nothing else, it's worth watching simply for the sheer hilarity of it all. Oh, and try and see if you can decipher what Damien Hirst is going on about. I must have seen it at least two dozen times, and I haven't got a bloody clue. Mad fer it indeed.

To their credit, they managed to secure some very high profile interviews (Liam, Noel, Damon and Jarvis), but all this film turns out to be is a glorified version of an "I Love the 1990s" documentary.

Thankfully, it is not the production team who come off as the biggest fools in this film. That accolade goes to Damon Albarn for acting so arrogant as to not want to discuss the Blur/Oasis rivalry - what did you think they would ask you about Damon?? Your new Gorillaz album?

Hopefully someone will come along a few years down the line and produce a more informed account of the wonderful Britpop years. But for now your best bet is to read "The Last Party" by John Harris, whilst having this film on as background music!