Kelly + Victor (2012)

Johnston finds the film a fascinating, emotionally engrossing romance that turns its ambitious ideas into cinematic electricity. He praises Evans’s visual language and Campbell-Hughes’s performance, while noting that some supporting dialogue feels anodyne.

The critic calls it a lovely, mostly cliché-free romance and a sound night out, despite an overly histrionic turn. They single out the lead performances and the film’s gradual, tantalising reveal of its protagonists for praise.

Bradshaw finds the drama provocative and engaging, with an unsentimental take on romance. He praises its cinematography and acting.

The review’s verdict cannot be determined because its text is behind a paywall. No specific praise or complaint is visible.

The review finds the film’s portrayal of love and pain between two damaged souls compelling but says its atmosphere turns sour too quickly. It singles out the film’s resemblance to Blue Valentine before noting that shift in tone.

Lodge finds the film uneven but a striking calling card, with its credibility-straining depiction of a sadomasochistic relationship undermining its ambitions. He praises the stylish cinematography and carefully integrated musical selections.

The critic finds the adaptation intense but wayward, with its strengths unable to overcome its flaws. The review praises the sense of place and the courageous performances, while faulting the contrived subplots and climax.

The review finds the film deadening and its adaptation choppy. It praises the performances and framing of Liverpool, but says the characters lack depth.

Dalton finds the film stylish and intense but ultimately implausible and emotionally unconvincing. He praises its striking cinematography and committed performances, while criticizing the thinly drawn characters and sensationalized misery.

Goldberg finds the film deeply moving and well made, but ultimately hollow and distressing. He especially praises the authentic lead performances and the restrained, intimate direction.

Doyle finds the film falls short despite its compelling central relationship. He praises the leads’ performances and Evans’ blend of tenderness and violence in the intimate scenes, but criticizes the dialogue and Scouse accents.

Robson finds the film compelling but overfocused on pain and misery, which eventually becomes wearing. He praises the lead performances and Evans’s skill in conveying both the relationship’s danger and its tenderness.