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The Filth and the Fury

The Filth and the Fury

Documentary · Music · 2000

Julien Temple's second documentary profiling punk rock pioneers the Sex Pistols is an enlightening, entertaining trip back to a time when the punk movement was just discovering itself. Featuring archival footage, never-before-seen performances, rehearsals, and recording sessions as well as interviews with group members who lived to tell the tale--including the one and only John Lydon (aka Johnny Rotten).

Movie details

The Filth and the Fury

“A Sex Pistols film - uncut, unseen, unbelievable.”

2000 Documentary · Music 1h 48m

Critical arithmetic

One number, for now.

TMDB

6.9 / 10

Community rating

Julien Temple's second documentary profiling punk rock pioneers the Sex Pistols is an enlightening, entertaining trip back to a time when the punk movement was just discovering itself. Featuring archival footage, never-before-seen performances, rehearsals, and recording sessions as well as interviews with group members who lived to tell the tale--including the one and only John Lydon (aka Johnny Rotten).

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Filth and the Fury?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Julien Temple

Written by

Julien Temple

John Lydon

John Lydon

Self

Steve Jones

Steve Jones

Self

Paul Cook

Paul Cook

Self

Glen Matlock

Glen Matlock

Self

Sid Vicious

Sid Vicious

Self (archive footage)

Malcolm McLaren

Malcolm McLaren

Self

David Bowie

David Bowie

Self (archive footage)

Court is in session

Put The Filth and the Fury on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.