Sid and Nancy
1986 · 114 min · Director: Alex Cox, Alex Cox
Show plot summary (may contain spoilers)
Morbid biographical story of Sid Vicious, bassist with British punk group the Sex Pistols, and his girlfriend Nancy Spungen. When the Sex Pistols break up after their fateful US tour, Vicious attempts a solo career while in the grip of heroin addiction. One morning, Nancy is found stabbed to death and Sid is arrested for her murder.
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Emotional fingerprint
Sid and Nancy (1986) — Movie. Top emotional signals: Sadness 35%, Disturbing 25%, Love 20%. Source: AI estimate. Shares describe emotional signal, not percentages of people. Your experience may differ. How we measure
- Sadness35%
- Disturbing25%
- Love20%
- Nostalgia10%
- Anxiety10%
AI estimate · no viewer votes yet
How we measure
AI estimate
Share of emotional signal, not the percentage of people or a probability of enjoyment.
Each viewer contributes one response, split equally across their selected emotions. When available, an automated estimate supplies a prior that is blended with those responses. Counts include distinct viewers, not automated estimates or archived anonymous votes. Fewer than 3 viewers is an early estimate; more responses do not guarantee certainty.
Why it feels this way
The strongest emotional signals are Sadness, Disturbing, Love. Genres: Drama, Music, Biography. AI estimate.
Is it worth watching?
Consider this title if you are looking for Sadness, Disturbing and Love. Its IMDb rating of 7.0/10 suggests a generally positive audience reception. For these leading emotions, its Feel Score is 72/100.
How did it make you feel?
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Pick up to three · 0/3
Emotional journey
- Sadness
- Tension
- Disturbing
Not enough subtitle evidence
No dominant emotion
Dominant emotion: Tension
Dominant emotion: Humor
Dominant emotion: Disturbing
Dominant emotion: Sadness
Dominant emotion
| % | Approximate minute | Dominant emotion | Overall intensity | Sadness | Tension | Disturbing |
|---|---|---|---|---|---|---|
| 2.5 % | ≈ 3′ | Tension | 58 % | 23 % | 42 % | 42 % |
| 7.5 % | ≈ 9′ | Humor | 54 % | 13 % | 30 % | 36 % |
| 12.5 % | ≈ 14′ | Humor | 48 % | 10 % | 31 % | 32 % |
| 17.5 % | ≈ 20′ | Tension | 45 % | 13 % | 36 % | 33 % |
| 22.5 % | ≈ 26′ | Disturbing | 46 % | 16 % | 35 % | 30 % |
| 27.5 % | ≈ 31′ | Humor | 50 % | 19 % | 38 % | 30 % |
| 32.5 % | ≈ 37′ | Humor | 54 % | 20 % | 43 % | 35 % |
| 37.5 % | ≈ 43′ | Tension | 54 % | 31 % | 44 % | 34 % |
| 42.5 % | ≈ 48′ | Sadness | 51 % | 43 % | 39 % | 29 % |
| 47.5 % | ≈ 54′ | Sadness | 55 % | 49 % | 41 % | 38 % |
| 52.5 % | ≈ 60′ | Sadness | 66 % | 57 % | 52 % | 56 % |
| 57.5 % | ≈ 66′ | Sadness | 68 % | 54 % | 54 % | 56 % |
| 62.5 % | ≈ 71′ | Tension | 56 % | 36 % | 44 % | 43 % |
| 67.5 % | ≈ 77′ | Disturbing | 51 % | 31 % | 39 % | 41 % |
| 72.5 % | ≈ 83′ | Tension | 55 % | 40 % | 46 % | 46 % |
| 77.5 % | ≈ 88′ | Sadness | 61 % | 51 % | 54 % | 48 % |
| 82.5 % | ≈ 94′ | Sadness | 73 % | 65 % | 63 % | 55 % |
| 87.5 % | ≈ 100′ | Sadness | 80 % | 69 % | 73 % | 65 % |
| 92.5 % | ≈ 105′ | Tension | 70 % | 55 % | 63 % | 59 % |
| 97.5 % | ≈ 111′ | Sadness | 57 % | 43 % | 45 % | 48 % |
Riches to rags
Rags to riches: The emotional tone rises from negative to positive.
Riches to rags: The emotional tone falls from positive to negative.
Man in a hole: The tone falls, then recovers.
Icarus: The tone rises, then falls.
Cinderella: The tone rises, falls, then rises again.
Oedipus: The tone falls, rises, then falls again.
AI reading of the film’s English subtitles (dialogue and sound cues) — not viewer votes. How we measure ↗
Afterward Reveal viewer responses · may contain spoilers
Viewer responses about feelings after the title ended, separate from feelings while watching. No AI estimates.
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Feeling details appear after at least 3 viewers respond, to protect privacy.
Cast
Phoebe
Johnny Rotten
Steve
Reporter
Chelsea Hotel Resident
Abby National
Details
- Type
- Movies
- Released
- 1986
- Runtime
- 114 min
- Country
- United Kingdom
- Ratings
- Feels mostly
- Sadness
- Data updated
Where to watch
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More like this →Emotion overlap shows mood similarity, not a prediction of enjoyment.





