This Movie Can Only Be Described With One Word.

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

I wish IMDb would delve into the negatives as well as the positive number realms because its the only way to truthfully cover films like these honestly .Acting was decent story was weak girl meets boy girl likes is into kinky asphyxiation type of sex .Even though she's 90 lbs soaken wet and couldn't gag a maggot . Meaningless lives and meangingless sex equal a meaningless movie with no point or meaning 1-10 not worth your money or the time to think about or give meaning to it .You want to thought provoking material read a book .Skip this movie at any and all costs i made it 50 mins into the film and shut it off because i felt myself growing dumber by the second .Yes it was one of those films

"Kelly + Victor" is the story of a sadomasochistic relationship between a young couple who meet in a nightclub then go back to hers for sex. It's a thin little story tarted up with shots of nature and landscape between the bouts of not very pleasant passion. It's a film that shows real promise, (director Kieran Evans won a BAFTA for it), but is too concerned with softening the blow by making this into an 'art' movie complete with visit to an art gallery. I think it would have been a better picture had a more direct approach been taken. Julian Morris is outstanding as Victor; he is a naturally physical performer who throws himself completely into the role. If Antonia Campbell-Huges is less impressive as Kelly it may be because her character never feels real. Her addiction to kinky sex feels to me like a scriptwriter's affectation. It's a bleak, grim little picture, very 21st century kitchen-sink and it made me long for the less explicit but more dramatically satisfying British films of the early 1960's.

Welsh screenwriter and director Kieran Evans' feature film debut which he wrote, is an adaptation of a novel from 2002 by English author Niall Griffiths. It premiered in the Dare section at the 56th London Film Festival in 2012, was screened at the South by Southwest Film Festival in 2013, was shot on locations in England and North Wales and is a UK-Ireland co-production which was produced by producer Jainine Marmot. It tells the story about a man named Victor who lives at a disused school in Anfield, Liverpool in England with three other men and who spends most of his time with his sister named Lizzie who lives in a house with her husband named Mikey and their son named Connor, and his friends named Craig and Baz. Whilst celebrating at a nightclub on his birthday, Victor meets a woman named Kelly on the dance floor and accompanies her to her apartment.Distinctly and precisely directed by Welsh filmmaker Kieran Evans, this quietly paced fictional tale which is narrated simultaneously and interchangeably from the two main characters' viewpoints, draws a necessarily unsentimental and psychologically poetic portrayal of a woman who socialises with a Dominatrix named Victoria, and who on a night in June whilst out dancing approaches and initiates contact with a person she takes a liking to. While notable for its variegated and atmospheric milieu depictions, reverent cinematography by cinematographer Piers McGrail, production design by production designer Anthea Nelson, costume design by costume designer Orla Smyth-Mill and use of sound, colors and light, this character-driven and narrative-driven story about the consequences of human cruelty and how it in some cases can express itself, where a Gemini woman and Taurus man who chooses to trust one another and unite in an act of love which exposes their true selves and creates an unspoken promise and invaluable fragments of hope which transforms them and their relation to life, and where excruciating deeds gradually becomes understandable though not condonable, depicts two mindfully internalized studies of character and contains a timely and prominent score by composer Steve Fanagan. This lingeringly atmospheric, mysteriously spiritual and poignantly and yearningly romantic indie love-story which is set during a summer in England in the 21st century and where an English dock worker in his late twenties is introduced through his new acquaintance to unfamiliar expressions which causes bilateral reactions and instigates the presence of death in him, and a self-employed female designer whom unwillingly joins a friend to meet a banker who takes strange pleasure from being humiliated and dominated, starts acting in reckless and hazardous ways, is impelled and reinforced by its cogent narrative structure, substantial character development, rhythmic continuity, efficiently abrupt film editing, contrasting perspectives, graceful interplay, scenes between Victor and Kelly, comment by a bartender at a pub : "Pick on someone your own size..." and the crucial and authentic acting performances by Northern Irish actress Antonia Campbell-Hughes and English actor Julian Morris. An importantly austere, densely cinematographic and humanizing character piece.

I saw this at the 2012 London Film Festival. Those who saw 'Donkey Punch' may remember Julian Morris, the pretty young thing who delivered the titular blow. He's bulked up a bit since then - in fact he looks really good - but don't expect to see 'Donkey Punch' levels of nakedness from him in 'Kelly + Victor', as despite its plethora of sex scenes Morris' only real nudity is curled up on the shower floor sobbing - not v erotic! Based on a novel by Niall Griffiths, the film is a dreadfully slow-moving tale about a romance that goes wrong because of the woman's brutality in the bedroom. It's full of filler material that has little to do with the main plot line, such as a trip to buy drugs in Wales that comes totally from left field and is barely mentioned again, and pictures of some seagulls. It would have been far better to have concentrated on the central relationship, dumped the extraneous stuff and been content with a shorter film.