THE 2021 British psychological horror film Censor tries to be something different.
Sometimes it succeeds but overall the result is lacking in story and visual appeal.
It’s very interestingly set during the 1980s when the British Government was reacting to a media-driven frenzy over increasingly violent horror films.
The ‘video nasties’ era was an actual thing with social and media commentators., as well as some academics, claiming the films would cause people to commit violent acts and had to be banned.
Enid Baines’ co-workers at the Censorship Board refer to her as “Little Miss Perfect” due to her strictness in applying the rules and difficult, distant personality.
We learn one of the reasons for her demeanour is that her sister has been missing for years. Enid’s parents are now resigned to an official declaration but Enid resists.
A man murders his wife and children and a tabloid newspaper links the killings to a film Enid had allowed to be distributed after cuts.
She starts to receiving phone threats and insults in public from people recognising her photo.
All of this background is actually quite interesting for a film critic and perhaps is why the film has been widely praised.
But the problem is the point being made about the impact – or lack of impact – of these films isn’t reflected well enough in the main lot which involves Enid thinking an actress in one film she reviews is actually her missing sister.
This leads Enid into a dark world of horror film-making that may be real or figments of her imagination as her emotional state breaks down.
We are never really sure but, unfortunately, how the film plays out makes you suspects it’s makers aren’t sure either.
Some of the visuals are very strong while others fall flat and detract from the narrative.
There are two great scenes which both involve Michael Smiley in a brilliant cameo playing a lecherous producer of ‘video nasties’.
Ailey’s scenes and the historical setting make Censor worth a watch but maybe don’t expect to be wowed like many others have been.