‘California Schemin’ review: Hip hop hoax biopic is an absolute treat

James McAvoy makes his directorial debut with a witty, energetic true story about two young Scottish rappers who told a big fat fib to get signed by a label. The lie? They said they were American, and kept up the pretence 24/7.

It’s a gob-smacking tale of ambitious kids who take on the system but end up in over their heads. You might even remember Silibil N’ Brains, a posturing duo who emerged in 2003, claiming to have met on California’s hip-hop scene. They were eventually exposed as two pals from Dundee, which is where we first meet the likeable pair Gavin Bain (Seamus McLean Ross) and Billy Boyd (Samuel Bottomley).

Desperate to make it big as a rap duo, they first audition in London, only to be dismissed due to their Scottish accents. Armed with patriotic outrage, they decide to tune into the industry’s prejudices and repackage themselves as a couple of sweary, Beastie Boys-style Americans. Suddenly, they’re back in England, recording tracks, performing and partying with groupies. While Gavin throws himself into the lifestyle – and the lie – Billy is torn between the high life and his level-headed girlfriend back home, Mary (Lucy Halliday).

All three central characters have an authentic feel, thanks to strong performances and an appealing script co-written by Elaine Gracie and Archie Thompson. Casting Bottomley, a Bradford boy, as Billy could be seen as a risk (and ironic, given the film’s theme), but the versatile actor puts in a performance that’s both witty and poignant. With his studied American accent and faintly goofy manner, Bottomley resembles a young Keanu Reeves. In fact, these boys could almost be a Scottish Bill and Ted, desperate to bring that film’s band Wyld Stallyns to the world-wide stage.

Helpfully, the script emphasises that the pair’s US accents are – as Mary puts it – “pure shite”. But they’re good enough to convince the characters who want to believe it, and have no reason to question it, as was the case in real life.

There are brief low points: a cameo by James Corden feels forced, and the ending doesn’t pack the emotional punch it could. But mostly, this is a blast, its cheeky entrepreneurial spirit recalling everything from Kneecap to The Full Monty. McAvoy – who also appears as a label boss – has delivered an enjoyable directorial debut. With its mischievous humour and infec-tious energy, this film feels like a reflection of his spirit – and it shows a side of Scotland that is full of life, warmth and music. If there’s a message here, it’s that home is where the heart is… Oh, and think twice before fibbing. But with a book, a documentary and now a feature film, perhaps those schemin’ boys haven’t done so badly after all.