Director Ben Wheatley could justifiably be described as the most adept contemporary British proponent of one of the rarest decent cinematic amalgamations: disturbing elements of horror/uncompromising brutality and violence, and farcical comedy.
Superficially this may appear to compose the necessary elements for a conventional black comedy, but is in Sightseers differentiated by its unusually extreme macabre nature and utterly polarised comedic moments infused simultaneously, to create exceptionally disconcertingly dissonant viewing.
The explanation of the premise of the film offered to the film's respective studios must have no doubt been somewhat unusual and perhaps challenging, even for someone of Wheatley's talents. (Although the pitch was reported rejected several times 'for being too dark.') It's also problematic to describe without revealing spoilers, which I'll do my best to refrain from doing.
Tina (played superbly by Alice Lowe) is frustrated, insecure, and listless. She lives a sheltered and mundane existence, constantly overseen by her controlling and eerie mother. All she wants is to experience life, see the world, and do her best to move on from the tragic accident involving a pair of knitting needles that killed her beloved dog, Poppy.
This dream is made real by Chris (also played excellently by Steve Oram). Chris is quiet, reserved, and rugged. Clad constantly in outdoor clothing, and aspiring to be a troubled writer, he reveals his love for Tina by promising to show her the world in a caravanning holiday, experiencing such wonders as the National Tramway Museum in Crich and the Keswick Pencil Museum.
Some way into their modest odyssey, it becomes apparent that Chris is a psychopathic murderer - and his victims include anyone who dares threaten the peace and tranquillity of their holiday, namely; litterers, the pompous and rude middle-class ("He's not a person... He's a Daily Mail reader"), rude and noisy teenagers, and those who secure superior places in the caravan parks.
Tina soon overcomes her initial shock and Chris' murderous revelation, and begins to indulge in behaviour much the same - the two even begin to view it as a romantic activity, and continue enjoying their holiday together.
The film is fantastically written, and the screenplay perfectly navigates the exceptionally dangerous cinematic territory of the necessity to balance astute comedy with genuine shock and surprise - even the climactic ending is pleasingly unanticipated and original.
The satire is consistent and intelligent, and perfectly mocks English sensibilites and humour - even the idiosyncrasies of the kitch caravan decour and holiday intentions are wonderfully accurate and genuine. (An editor of the U.K's Caravan Magazine described the film as "absolutely brilliant" while saying that "every detail rings true.")
Wheatley also exploits some of the country's most beautiful scenery and landscapes as pathetic fallacy for the tone of the film, as the pair become ever more remote, distances, and isolated from normal society.
In a season of unbearably lengthy and indulgent films, it's also refreshing to view a film that runs for a total of 88 minutes - Wheatley deftly avoided the potential peril of extending the film beyond its best worth and effectiveness.
Sightseers is admirably concise, surreal, intelligent, surprisingly earnest, and wickedly amusing.
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