Amid the Civil War in 17th-century England, a group of deserters flee from battle through an overgrown field. Captured by an alchemist, the men are forced to help him search to find a hidden treasure that he believes is buried in the field.
Nearly a year after a botched job, a hitman takes a new assignment with the promise of a big payoff for three killings. What starts off as an easy task soon unravels, sending the killer into the heart of darkness.
Ribblehead viaduct is 440 yards long, and 104 feet above the valley floor at its highest point. It is made up of twenty-four arches of 45 feet span, with foundations 25 feet deep. The north end of the viaduct is 13 feet higher in elevation than the south end. 1.5 million bricks were used in the construction and some of the limestone blocks weighed 8 tons each. See more »
When Chris and Tina first arrive at the Abbey he is wearing gaiters. When they are inside the Abbey he's not wearing them but when they go outside again he is wearing them. 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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