Nice effects though.

Must See Movie...

Just perfect...

The story-telling is good with flashbacks.The film is both funny and heartbreaking. You smile in a scene and get a soulcrushing revelation in the next.

i never saw a documentary that so well reflects the artistic values of its subject. so well merging history and art into a very tasty presentation.back in the late seventies, the sEx pIstOLs caused a true pop revolution in england as well as in Europe. in those days the WHirLwinDs of the sixties had slowed down, while the industry kept on GoiNg. It all resulted in pop music mostly lacking FIrE.we all know that sEx pisToLs' music carried lots of fire. what Americans may not appreciate, is that this fire comes from a strong social undertone. the group really represented ENglAnd's lowest educated, socially backward youngsters, with almost no prospect for a proper job + a decent futUrE.that's what the sEx pIsToLs sing about -- love + sex hardly make a topic with them. their image and outfit are quite in line - we all know their torn-up clothing, their safety pins, and their FoUl language. called P U N K. It's all there in this gReAt documentary.

Watching the first ten minutes of F & T F, I can honestly say that I experienced the only true religious experience I've ever felt in the matrix of a movie theatre. I had an out-of-body experience, so completely was a swept into the world of Julian Temple's interpretation of what The Sex Pistols were, how they came to be, when they came to be, and the madness of Great Britain that allowed them to come to be. It was probably the only time cheek irony ever really worked, that is, playing majestically classical music during the opening credits. And then that marvelous segue from the lower-income housing courtyard to Johnny's blistering presence. As ferociously brilliant a film as the band itself. But the film is more than just about the band; it's also about the fear of the establishment when its status quo is threatened, the media, and British society. The hypocrisy of the British government is ever evident when we see a public official denouncing the band as a disgusting bunch sub-human runts that are "the antithesis to human-kind" and then later see this and play a benefit concert and host an x-mas party for the children of striking firefighters. THAT WAS THE POINT OF THE PISTOLS in some respects. Their anger was grounded in the mistreatment of working people. Maybe it was a publicity booster, but I've seldom seen any American bands get their ands dirty and link up with Labor issues. The film is also about Language. It seems that using racial epithets are accepted in some British circles, but airing some traditional four letter words on public television, is still taboo. Anti-drug? Certainly. Johhny Rotten comes right out and extols the evils of Heroin and we see what it can do to a human being in Sid and his ultimate demise. SEE THIS MOVIE!

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!

I've seen my share of rock documentaries, but this one levels them all. This is a film for anyone who's ever seen "The Great Rock 'N' Roll Swindle" and said "Oh, for f***sake! Could we get some f***ing TRUTH in here?!" Julien Temple apparently felt the weight of guilt upon his shoulders after aiding and abetting Malcolm McLaren in his insipid attempt to take credit, not only for every single thing the Sex Pistols ever did, but for the creation of punk rock (which goes all the way back to the end of the '60s, if you wanna get technical...so get stuffed, Malcolm).Here, Temple interviews the band in silhouette and throws at us a barrage of great clips from the hundreds of hours that he shot during the making of "Swindle"...included are several bits that were featured in the aforementioned film, but they're given a different spin, which actually has a ring of truth about it...as well as a great deal that we've never seen before, no doubt because that footage undermines the whole concept of the first film...namely: "I am Malcolm McLaren...the Sex Pistols were nothing...it was all me...worship me now."It's quite refreshing to hear Steve Jones (the only member of the band who ever really liked McLaren to begin with) musing as to how "everyone in the world knows Malcolm's full of s***." That's right...we do. And especially enjoyable were the band's recollections of how McLaren was panicking after the infamous Bill Grundy incident. Funny, when you watch "Swindle," it seems like it was all his idea...just like everything else. Oh, Malcolm...can your own life be so meaningless that you feel the need to take credit for everyone else's actions? Nevermind...that's rhetorical.What this film gives us that its predecessor lacked (aside from the absence of staged McLaren ego-trip material) is a historically accurate account of the band's existence, from its inception to its inevitable self-destruction.Not to mention that it actually contains genuine human emotion...something which "Swindle" lacked altogether. Especially touching are John's recollections of Sid Vicious's death...and how it was turned into more money in McLaren's pockets. "You can't get more evil than that, can you?" This was someone that John cared for like a brother, and his absence still hurts, even 20 years later.Overall, this film delivers the goods in every conceivable way. It is not only the ONLY worthwhile documentary about the Sex Pistols...it's also the best rock & roll documentary I have ever seen. Anyone with an interest in the musical evolution of the 20th century should miss this film at their own expense.