Film

Let's Get Laid

A post-war British sex comedy that trades on mistaken identity, theatrical chaos, and the presence of adult film star Fiona Richmond. It's cheerfully crude, energetically silly, and belongs to that peculiar moment when mainstream British cinema briefly flirted with explicit content. For fans of Carry On films who want something a notch looser.

Should you watch it?

Watch it if you like saucy British comedy where mistaken identity, stage business and a sly wink at the audience matter more than tidy plotting.

Skip it if you find sexual innuendo tiresome, since the jokes lean on it constantly and the espionage thread gets tangled enough to test patience.

What it asks of you: Ninety brisk minutes of broad physical comedy and running gags, with the plot treated as a pretext; it asks you to accept a loose, cheerfully unexplained story and shrug at its logic.

Not sure? Find tonight's pick in a minute.

If you liked this

Carry On Cleo1964

The blueprint for British farce: mistaken identity, theatrical anarchy, double entendres that somehow made it past the censor, and an ensemble cast committed to absolute silliness. Kenneth Williams at peak form.

But The humour is relentlessly puerile and dated; some of the gender politics are cringe-inducing by modern standards.

Carry On Cleo poster

The Ladykillers1955

Ealing mastery of the mistaken-identity plot: criminals hiding in plain sight, landlady mayhem, escalating comic misunderstandings, and a theatrical climax that feels inevitable and earned.

But It moves at a slower pace than modern comedy; the humour is drier and requires patience.

The Ladykillers poster

Up the Front1972

Bristolian sex-comedy energy with Frankie Howerd as a soldier in wartime drag, chasing spies, getting tangled in espionage, and treating the Second World War as pure pantomime fodder.

But The comedy is broad and dated; it relies heavily on innuendo that lands unevenly depending on your tolerance for seventies ribaldry.

Up the Front poster

Not sure tonight? Get a pick in a minute, starting from Let's Get Laid

The wildcard

Something you would not have found on your own.

The Servant1963

Both trade on mistaken identity and theatrical performance, but Servant uses them as a weapon against comfort, while Laid uses them as pure playthings.

Role reversal and power dynamics play out through elaborate deception and mistaken assumptions about class and status. A thriller disguised as a psychological study, with the kind of theatrical plotting that Laid simply wants to make you laugh about.

But It's deliberately unsettling and slow-burn; there are no laughs, and the darkness accumulates in a way that may feel oppressive.

The Servant poster
More like this (6)

The Pink Panther1963

A masterclass in physical comedy and mistaken identity spiraling into chaos: a bumbling detective, jewel heists, international locations, and escalating absurdity that never stops moving.

But If you don't find Peter Sellers' comedic voice appealing, the whole film collapses for you.

The Pink Panther poster

Kind Hearts and Coronets1949

Alec Guinness playing eight different members of a family, each murdered in turn by Dennis Price's protagonist, using mistaken identity and dark comedy as the engine for genuine wit and social satire.

But It's a darker, more sophisticated comedy than a typical farce; some find it cold rather than warming.

Kind Hearts and Coronets poster

The Italian Job1969

Heist comedy with ensemble charm, Michael Caine leading a team through escalating schemes, mistaken motives, international locations, and a cliffhanger that became cinema legend.

But The dated attitudes to women and violence may grate; the plot sometimes prioritizes spectacle over coherence.

The Italian Job poster

Doctor in Distress1963

Dirk Bogarde leading the Doctor comedy cycle through romantic entanglements, medical mishaps, and theatrical farce in London's medical world. Warm, energetic, endlessly inventive.

But The comedy is gentle rather than sharp; if you prefer satire to slapstick, it may feel slight.

Doctor in Distress poster

Singin' in the Rain1952

Both are about performance as escape and chaos; one uses music and dance, the other uses farce and ribaldry, but the structure—identity hidden, revealed, mistaken again—is identical.

A film obsessed with theatrical performance, mistaken identity in the film world, and the question of who's really whom when everyone's playing a part. The energy and chaos mirror Laid's shameless commitment to spectacle.

But It's a musical, and if you don't warm to that form or Gene Kelly's particular genius, you'll find it overlong and exhausting.

Singin' in the Rain poster

The 10th Victim1965

Both are fundamentally about people trying to kill the wrong person for the right reasons, wrapped in theatre and international mayhem. But Tenth Victim is dystopian sci-fi wearing a comedy mask, while Laid is pure vaudeville.

An Italian science-fiction comedy about murder as sport, mistaken targets, international espionage, and a woman (Marcello Mastroianni in drag and not) trying to bump off the right person. Absurdist, theatrical, visually wild.

But It's genuinely strange and disjointed; the tonal shifts are jarring and it doesn't resolve neatly. Not comfort viewing.

The 10th Victim poster

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