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The trams at Crich mostly ran along the streets of cities in United Kingdom before the 1960s, with some trams rescued and restored (even from other countries) as the systems closed. The town of Matlock is close by and the nearest train service is from Whatstandwell railway station on the Derwent Valley Line (Derby-Matlock line), with a steep walk up to the museum at the top of the hill. See more »
Early in the film, when Tina's hair is being brushed by her mother, there is a cut to Tina with her mother visible behind her. Although we can hear her talking, her mouth is shut. Out of sync audio/visuals are a trademark of director Ben Wheatley's editing style (see also: Kill List) See more »
Mum? Mum. Mum. Mum. Mum. Mum. Mum. Mum. Mum. You all right?
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Ben Wheatley provides one of the year's darkest and funniest comedies in this tale of true love, caravans and dead bodies.
Ever since her terrier Poppy died in a bizarre knitting accident, Tina (Darkplace's Alice Lowe) has lived a sheltered life with her mother. New boyfriend Chris (Steve Oram) decides to show her his world and takes her on a self-proclaimed "erotic odyssey" in his caravan to such wonders as the Crich Tramway Museum, Ribblehead Viaduct and, of course, Keswick Pencil Museum. But with litterbug, National Trust snobs and feral youths running rampant, Tina and Chris inadvertently leave a trail of dead bodies in their wake, as their holiday continues to spiral out of control.
Steve Oram heads up the fantastic cast as the muted, yet brutal, Chris, complementing Alice Lowe's awkward, yet creepy, Tina perfectly. However, the real star is the special effects, which provide some of the most realistic and memorable on screen deaths of the year. The unsettling, albeit hilarious, performances of the two leads is mirrored in the soundtrack, a mix of cheery '80s pop songs and a haunting minimalist score.
Shot in the beautiful Lake District, director Ben Wheatley uses lingering shots and slow-mo in an innovative way, making his comedy edgy whilst poignant. No doubt, this is a very British black comedy. Wheatley shows directorial flair, but reigns it in from his previous work Kill List, leading to a much tighter film, with a concentration on the biting wit of the script.
Sightseers, overall, plays out like a cross between Bonnie & Clyde and In Bruges, leading to a perfect pitch-black comedy that's not for the faint hearted.
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