Fred and Rose West go caravanning, in another peculiar film from Wheatley, who delights in the quirks and insecurities of the lower-middle class English, with its resentments, caravans, small dogs and poor food. It starts with the Edgar Wright format & gives it a darker twist. Wheatley would soon go into more interesting territory, but this is entertaining for anyone who can remember the hell of an English holiday.
Somehow I enjoy the conceit much more in retrospect. A couple's first road trip is always a make-or-break moment in the relationship. It's amusing to think of what this couple finds out about each other, and how they rationalize putting up with each other. The camera work and lighting is a bit shoddy, which intrudes on one's enjoyment of the black comedy.
With this, A Field in England, and Kill List, I do believe Wheatley is in the process of reinventing the horror film eschewing cheap jump scares and overly used CGI in favor of a growing sense of dread and an escalation of darkness, grabbing hold of viewers and dragging them into the mouth of madness. That it is also quite hilarious is just bonus. Fucking brilliant.
Felt like a British Flannery O'Connor story. The characters were wonderfully grotesque, and sickeningly funny. I loved the way they assumed the identities of the people they killed, and then got confused about that. I loved how grisly the violence was. I loved how fucking boring their holiday was. Poor Banjo/Poppy.
IMO Ben Wheatley does it again, and although his films are all stylistically disparate, he maintains continuity of anxiety, awkwardness and audacity. This is likely one of my favourite dark comedies (maybe transcending the archetypal "dark") and the character dynamic and progression is super interesting.
Its hilarious and creatively-humored, quite-quotable quotes, good central dark-humored concept, and playful uses of pop songs during some well-orchestrated montages hold up the rest. Sightseers is better in these parts than the whole, as it feels too loose in plot sequencing, and the characters are constructed for its non-centered plot-line and punchlines only. It's still an entertaining, if largely purposeless film.
A comedy as black as a pool of dried blood. In the midst of blood shedding and broken skulls Sightseers manages to tell something essential about love relationships, at least of the first three months when sex is great and you feel you’re building something truly special, something no-one else can understand. Such relationships can end abruptly though.
Malgré un humour british souvent dévastateur et pince-sans-rire, le film finit pourtant par s'embourber vaille que vaille dans ses redondances criminelles, perdre de sa mordante saveur et s'égarer en fin de compte dans l'impasse suicidaire d'un viaduc, avec un ultime pied-de-nez au foireux destin commun... www.cinefiches.com