IFC Films | Release Date: May 10, 2013
6.8
USER SCORE
Generally favorable reviews based on 35 Ratings
USER RATING DISTRIBUTION
Positive:
21
Mixed:
12
Negative:
2
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retnopJun 17, 2013
This is a bad film.. the best I can say about it is;" lovely tour of the English countryside despite the disturbing sexual content and graphic psychotic violence."
1 of 2 users found this helpful11
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5
BrianMcCriticDec 28, 2013
This is an interesting horror/dark comedy that just falls short. I just couldn't get around the needless murdering of just random people to recommend this film.
0 of 1 users found this helpful01
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8
nutterjrMay 18, 2013
Ben Wheatley drew my attention with his last outing 'Kill List', a twisted layered horror film and was very keen to see his follow up. This time around the horror is portrayed through a very dark and sinister British "comedy". The leadBen Wheatley drew my attention with his last outing 'Kill List', a twisted layered horror film and was very keen to see his follow up. This time around the horror is portrayed through a very dark and sinister British "comedy". The lead characters are delightfully wicked in a story well woven and with a wonderful build up and a brilliant ending. Can't wait to see what Ben will bring us next. Expand
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7
drlowdonAug 13, 2014
A newly involved couple take a caravan trip and ….. well, to say any more would spoil the film. Directed by Ben Wheatley, Sightseers, is a (very) dark horror-comedy with a similar tone to that of Hot Fuzz, not least thanks to the ratherA newly involved couple take a caravan trip and ….. well, to say any more would spoil the film. Directed by Ben Wheatley, Sightseers, is a (very) dark horror-comedy with a similar tone to that of Hot Fuzz, not least thanks to the rather graphic violence. Thanks in large part to the lead pair of Alice Lowe and Steve Oram, who give superbly understated performances, the movie certainly works for the most part and is well worth a watch. Expand
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7
python2000Feb 17, 2014
Sightseers has possibly the biggest change in tone of any movie ever. In the first 20 minutes it goes from being bizarre and reasonably upbeat to being bizarre and very very dark. But quite funny.

By way of laughs I wasn't exactly
Sightseers has possibly the biggest change in tone of any movie ever. In the first 20 minutes it goes from being bizarre and reasonably upbeat to being bizarre and very very dark. But quite funny.

By way of laughs I wasn't exactly satisfied, out of the moments which I did laugh at, the jokes were usually witty and clever. However in some places it got unpredictably juvenile and lost it's intelligence, this did not happen a lot only in the more mature scenes but I felt the movie could have done without it. Apart from being entertaining as a simple comedy, Sightseers is also very arty and was even shown at Cannes. This is probably because of the brilliant cinematography in the worryingly funny murder scenes. It was at the same level as the masterful camera angles Stanley Kubrick used in such as A Clockwork Orange and The Shining.

Sightseers is a chilling and very funny black (not bleak) comedy which succeeds at being serious and realistic but enjoyable at the same time. The phrase strangely enjoyable has never been so fitting. Much like the close to perfect 2013 movie Don Jon, I was almost ashamed to laugh in Sightseers. That doesn't stop me recommending it.
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7
HansFlicksJul 5, 2013
There's something very British about a caravan holiday, though it's not quite as ubiquitous a pastime as it may once have been. Sightseers takes the mundane as a starting point and turns it on its head resulting in a darkly comic road movieThere's something very British about a caravan holiday, though it's not quite as ubiquitous a pastime as it may once have been. Sightseers takes the mundane as a starting point and turns it on its head resulting in a darkly comic road movie that has a style all its own.

There's a very peculiar wavelength to this flick and it took a while to adjust to it. It's difficult to know what to make of it all in the first ten minutes or so as we are introduced to the characters. Alice Lowe's Tina and her domineering mother both archetypes that may ring true for some, but left me at a bit of a loss as to what the intention was. Once Chris, Tina's new boyfriend, arrives to whisk her away on a sightseeing tour of Britain, things start to slot into place and the tone of the film begins to establish itself, raising a few smiles of recognition and provoking the odd awkward squirm.

Broadly speaking, the comedy of the film is very subtle, but there are several moments that had me laughing out loud. It was only once the plot had really begun to take shape that I could fully appreciate these subtleties and stop trying to figure out what on earth it was that the movie was going for. The juxtaposition of the utter dullness of attractions such as the pencil museum and the bloodthirsty urges that simmer below the surface of the couple's average exterior are in equal parts bizarre and comical. Their conversations about the crimes committed are hilariously banal, discussing murder as though they were picking out tiles for the bathroom. It's this lack of excitement over anything that gives the flick a uniquely eccentric quality that's irresistible.

For any of this to be successful, it's essential that the performances be fitting and they most certainly are. Alice Lowe plays the sheltered little girl that never grew up with beautifully understated restraint, confusion and amazement etched on her face at the most ordinary of occurrences. At thirty-four she still lives at home, her childhood bedroom appearing to be much the same as it was the day she started school. Steve Oram's Chris is far more worldly, though just as dreary, all anoraks and sensible outdoor attire.

I can honestly say that I've never seen anything quite like this before and it left me wanting more. This kind of comedy is very dark around the edges and to some degree very specific, but the sharpness of vision is clear to see, leaving its mark on British cinema and standing out from the crowd effortlessly.
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