Perry Kate Very very predictable, including the post credit scene !!!

Wordiezett So much average

ChanBot i must have seen a different film!!

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

SnoopyStyle Julien Temple's film about the rise and fall of the Sex Pistols. The title comes from a Daily Mirror headline. It has interviews with the principals but he only shows them in silhouette. It paints an image of the times by using old TV shows. There is plenty of old footage of the band. It is vivid in expressing the guys' view of the times. I'm not a fanatic of the band and cannot vouch for the accuracy. I don't think that matters because it's their telling of their own story. I do have a problem with the silhouetting. It distances their present day self from their story. Temple is trying something artistic but it's unnecessary. Overall, this is a good documentary for fans of the band or anybody interested in this era.

Sindre Kaspersen English screenwriter and music video and documentary director Julien Temple's fourth documentary feature, premiered at the 16th Sundance Film Festival in 2000, was shot on location in England and is a UK production which was produced by producers Anita Camarata and Amanda Temple. It tells the story about a man raised by his Roman Catholic working class parents who had immigrated from Ireland and three same-aged English citizens named Steve Jones, Glen Matlock and Paul Cook who during a time of significant political conflicts, sectarian violence, football hooliganism, racism, inflation and youth culture, formed a band with their English manager named Malcolm McLaren who had opened a boutique in Chelsea, London, England with English fashion designer Vivienne Westwood, and who later befriended a seventeen-year-old fan of the Sex Pistols who would become the fifth and final member. Distinctly and subtly directed by English filmmaker Julien Temple, this finely paced documentary which is narrated interchangeably from the band members' viewpoints though mostly from the lead singers' point of view, draws an informative and unprecedented portrayal of a timely, socially oriented, intentionally offensive, satirically humorous, distinguishably anarchistic, bilaterally received and influential group consisting of a singer, a drummer, a lead guitarist and two bass players, their experiences and their relationship with their producer, their audience, their homeland, record labels, journalist and with each other. While notable for its respectful silhouette interviews which preserves the atmosphere and remarkable concert and backstage footage, this narrative-driven story about civil disobedience, friendship and the founding of a culture of music and everything that came with it during the year when the Guildford Four and the Maguire Seven were convicted, the Vietnam War ended, German-Jewish political theorist Hannah Arendt (1906-1975) and Czech-American filmmaker Milos Forman's "One Flew Over the Cuckoo's Nest" had its premiere, eloquently reminiscences a period in time when the Labour Party was in government and a lasting cultural movement emerged. This densely biographical, coherently historic, sociological and gravitating retelling of real events in the history of a nation and the lives of five sons of England from the early 2000s which is set mostly in England, Northern Ireland and the United States in the late 20th century, is impelled and reinforced by its cogent narrative structure, distinct film editing by film editor Niven Howie, efficient use of archive material, fictional approach which increases the surreal aspects, close to theatrical interviews of Nancy Spungen and Sid Vicious, politicized lyrics, the contrasting and life-affirming scenes from a benefit concert in Huddersfield, England in 1977 for children of firemen who were on strike and the prominent and memorable narration by English singer, songwriter and front-man John Lydon aka Johnny Rotten. An irreverently reverent, silently condemning and ultimately heartrending homage.

Chris Sullivan The Sex Pistols were one of the most underrated bands ever; just listen to the driving guitar of Steve Jones, the wailing dynamic voice of Johnny Rotten and the drums of Paul Cooke driving the rhythm with Glen Matlock on the bass; yes Glen Matlock on the bass and not Sid Vicious; Sid came later and couldn't play the bass, by all accounts, thus giving the band its reputation of incompetence which they didn't deserve; so they only used three chords; so what; so did some of the rock'n'roll greats of the fifties and so did The Ramones.I am not of the same age as The Sex Pistols, I identify more with the likes of Eddie Cochran and Buddy Holly, but I sure envied the fans in the 100 club shown in this movie when they witnessed The Sex Pistols there on Oxford Street with Sid in the audience inventing his pogo dance.In this film we get an early glimpse of their Svengali, Malcolm McLaren, at the store SEX that he owned with his then wife Vivienne Westwood; we see him as he swans around the shop like Sean O'Casey's strutting peacock, wearing a teddy-boy suit and sporting a duck's arse hair cut; here was the opportunist who was to take The Sex Pistols to the top and leave them there; high and almost dry in America with no money, no access to credit and no communication as he refused to take or return any of their calls; McLaren was booked into a luxury hotel whilst the band had to make do with some motel.The Pistols response to this was to tell the audience that they were getting 'one song and one song only as this isn't fun;' Johnny Rotten called on his alter ego John Lydon to relay that pathetic statement to the American crowd; this didn't seem to be the type of crowd that cut Sid's face that night with a missile earlier in an American performance; this was a crowd that took notice when they heard that it wasn't fun any more; it was then that we heard the voice over of Steve Jones saying that he had looked at Sid trying to play a bass, that he wasn't sure was plugged in, and wondered if he wanted to go ahead being a Pistol; he said he left soon after that but had regretted it ever since; he loved performing and loved the sex it had brought him throughout the touring life of The Sex Pistols.Interviews with the members of the band were carried out in silhouette throughout and it became clear that the band trusted the man doing the interviews; one Julien Temple the director of this film who knew the band from his previous movie 'The Great Rock 'n' Roll Swindle' which he had made twenty years prior to this one.Even though it had been twenty one years since the death of the twenty two year old Sid Vicious, the telling of the story brought a tear to Johnny Rotten's eye as it is quite clear that John Ritchie, or John Beverly, or whatever Sid's real name was, was the biggest victim in the whole Sex Pistols story; he was one of the Johns who had always been a friend of the other John the John they changed to Johnny Rotten.There is a lot of archive footage in the film and a lot of it is entertaining; we do see the situation as it was in Britain during the seventies which led up to the famous 'winter of discontent' and we even see the man himself, Laurence Olivier, uttering those famous Shakespearian lines from his own movie 'Richard III' from whence the newspaper sub-editors stole the quote; we see political Britain and racist xenophobic Britain but we also see very funny Britain; there is footage from some of the funniest men of the day: where else can we see archive footage of Nat Jackley, Tommy Cooper, Max Wall, Billy Dainty and even Arthur Askey who was as funny as toothache? There is the infamous television interview with Bill Grundy who, we are told by Steve in voice over, was drunk too – we weren't there but it was a terrible interview and the poor fellow deserved to be fired which came soon after that day in 1976.I didn't have anything to do with these people as there was another CS on the scene in London who owned a club and knew Julien Temple but I remember them from afar as their music was as exciting as the first time people of my age had heard Jerry Lee Lewis and Little Richard; it was a terrible shock when they went away and Elvis started to sing ballads but bands like the Pistols hit the dust too when it stopped being fun.

H_Grape It was this movie which made me realize that Sex Pistols were a great band and now I'm totally stuck to the music. Before I saw this on TV I hadn't heard one song, but I thought they couldn't play and so on. But as I saw it I got more and more interested and inspired. The movie is really great. I bought it when I was in London and I've seen it almost three times this weekend. I just love the part when they are interviewed in TV and Rotten says a "dirty word". It's great! The first time I saw it on DVD it took 2 and a half hour because it was hard to understand sometimes because I'm from Sweden so some parts I saw many times ao I didn't miss anything that was said. =) I just love that band!