capone666 Sid and NancyLike EDM musicians, Hip-Hop artists and Pop vocalists, Punk rockers can make millions without ever knowing how to play a musical instrument.Case in point, the maladroit bassist in this drama.At the height of the Sex Pistols' popularity, crusty punker Sid Vicious (Gary Oldman) is introduced to American groupie Nancy Spungen (Chloe Webb). Although he's warned by his band mate Johnny Rotten (Andrew Schofield) and their manager Malcolm McLaren (David Hayman) to steer clear, Sid is drawn to Nancy and her stash of heroin. The volatile union inevitably destroys the band before terminating the star-crossed lovers themselves in true punk fashion.While Oldman's acting début manages to electrify, auteur Alex Cox' 1986 adaptation of the 1978 events marginalizes lead singer Rotten's importance in the band's success, while glamourizing Vicious' drug abuse and his bad musicianship. Incidentally, if drugs didn't kill Sid Vicious, hearing himself in a car commercial would've. Yellow Light

wrightiswright Sid Vicious was the bass player of the Sex Pistols. One problem: He couldn't play one note.In a nod to the inexplicable modern popularity of reality TV though, it still didn't stop him from becoming a star. Mainly, because he was a walking car crash.Nancy Sturgeon did even less. She was his American girlfriend, a passably attractive blonde,with a hair-trigger temper. She became a famous celebrity, as well.Why, though?Both were drug-addled losers, who routinely broke the law, abused themselves and each other, not to their penchant for being mention hedonistic masochists. They spent the last few months of their pathetic existences as high as the Moon in a filthy hotel room, before dying in ignominious circumstances.So, what makes them such a notorious couple, that they're on the names of the lips of most of that generation, and even having a film based on their squalid, short lives now?I have no idea.One thing I AM sure of is most of their antics seem like child's play in comparison to what some of we see from today's batch of Z- listers. What was front page news in the late 70's/ early 80's is pretty much par for the cause in the noughties.That's... That's quite depressing really.I think I need to go and lie down, now.Oh, and the film itself is pretty good.It was worth the wait to find that out, huh? 6/10

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.