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

Livestonth I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Joanna Mccarty Amazing worth wacthing. So good. Biased but well made with many good points.

Orla Zuniga It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review

bettycjung 6/26/18. Maybe 2 1/2 stars. Good acting by Oldman and Webb captured the chaotic drug-infused lifestyle of Sid and Nancy, Most of the time it was hard to watch their self-destructiveness which knew would end badly. And, it did.

Robert Thompson (justbob1982) Version I saw: LoveFilm Instant streamActors: 7/10Plot/script: 6/10Photography/visual style: 5/10Music/score: 6/10Overall: 6/10Sid and Nancy is a very punk film. Shot in a very low-tech, rather shambolic style, it begins (in Sunset Blvd. style) with a dead person and then tells the story of how they got there.The dead woman is Nancy Spungen, paramour of Sex Pistols bassist Sid Vicious (Gary Oldman). It's clearly a great performance by Oldman in a breakthrough role in his career, but the character he is portraying is shown to have no talent, no musical ability, no virtues whatsoever except a somewhat greater mastery than most of punk's aggressive swagger.What follows is a difficult piece to assess, because it is a ruthless, efficient character assassination of the central pair. It is arguably a mark of the success of the film that they are shown to have nothing notable or interesting about them, and are merely loathsome individuals with very mundane, everyday flaws.However, it does make you question why you did or would want to spend 112 minutes looking at them. I am broadly a fan of the punk music style, but this is a lot more about the punk ethos than punk music. It fizzes with passive-aggressiveness which it directs primarily at its subjects, sneering viciously at their weaknesses and failings. I suppose that exactly like it's subject, the film is brutally passive-aggressive, a bit pointless, a bit self-indulgent, self-destructive and very, very punk.

videorama-759-859391 Never have I seen two great actors consume their roles like Oldman and Webb here. Oldman's punk rock appearance looks so much like the real Sid Vicious, it's uncanny. This biographical tale is told in a creative and humorous handling of story, it makes it all so compelling. There are some bits that shock, violence, per see, like Oldman carving his intials in his chest, for a female fan. The way it's told is offbeat, and truly original, that has me loving the movie just as much as last time I've seen it, which let me tell you, is a few times. If Sid really did kill Nancy, which we are kind left in a hazy judgement, the film does it's best on recounting what went down. The Sex Pistols as illustrated here were the most raucous and unruly I've ever seen, Vicious at one stage, knocking out a member of the audience, and disposing of an empty beer glass on the sidewalk, only for starters. Sid and Nancy lived like pigs, one scene has them sitting up in bed, accepting their fate as they watch their hotel room go up in flames, played to a haunting music score. The movie does have great music too. Through the whole story we see how the relationship, Sid and Nancy had, suffered. Nancy in a phenomenal performance by Webb, had faced a lot of rejection if from family, whatever. The family reunion part, that does provide some humorous moments. Nancy also worked at a S and M bordello, to feed her drug habit. One bordello scene, that doesn't feature Nancy, with a client hanging from a ceiling, is a riot. I just love the way the stories formulated, with some nifty touches, one that dream sequence with Nancy coming back from the dead at the end, rolling up in a limousine, all dolled up. Another one has Sid revealing himself to a band of kids where at the mentioning of the name, they scuttle away, but the last part is done in EXTREME fast forward. Director Cox has had fun making this, and this is an impressive piece of filmmaking, considering Cox had made the much smaller film, cult hit Repo Man, a film that does indeed stand small against this. Oldman and Webb ought to be commended. The acting speaks for itself. I'd recommended this film, just for watching these actors in prized performances that are so authentically real, they'll stay with you forever. The featured end song "Love kills", rocks, and so does this masterpiece.

gsygsy I missed SID & NANCY when it was first released. I wasn't expecting much when settling down to watch the DVD. I was pleasantly surprised to find a coherent, energetic but ultimately melancholy study of co-dependency, with two terrific central performances.We get to know Chloe Webb's child-woman Nancy to a greater extent than we do Gary Oldman's wild-man Sid. Not the actors' fault. In fact it's not a fault at all. There is something inexplicable there. Whatever forces were at play in forming the young man who became Sid Vicious, it's to the credit of Alex Cox and his team that they don't waste time speculating upon them or trying to analyse them. Instead, the film lives up to its title, starting just before the relationship starts and ending just after Nancy's death. The era in which the film was made is a significant factor in appreciating it. It was, in the UK at any rate, a time when the welfare state that had been so painstakingly put into place began to be systematically unravelled, a land where the notion of Society was belittled, in which hyper-individualism was lauded, where any sense of community was being abandoned, and the search for it becoming a joke. WALL ST, the'hero' of which was to famously declare Greed to be good, was released the year after SID AND NANCY. I remember all that only too well. And of course it's not over yet: the unravelling continues.Sid and Nancy meet in a frenzy and finish in a fog. In between they shore each other up as best they can, two bits of flotsam on an indifferent sea. We're shown only a little of where Sid came from, mercifully not enough to help us theorise about how he came to be the embodiment of anarchy. Instead, through Oldman's bravura, we see his unmitigated charisma, at which the film's unctuous Malcolm McClaren (played by David Hayman) smiles knowingly and which he merrily exploits. We do see Nancy in the context of her family, but again, instead of attempting to use this encounter to explaining her, Cox gives us a sense of how pleased the family was to get rid of her. If Romeo and Juliet had been like Sid and Nancy, the Montagues and the Capulets would have paid to get them married and out of Verona altogether.