This is the movie I think of whenever I hear the phrase "all style over substance". It's visually striking, has an interesting premise and incredibly intriguing..... but unfortunately the terrible ending ends up poisoning the entire thing. This movie is a mystery along with being a horror movie and unfortunately the mystery aspect becomes a train wreck because absolutely nothing is resolved due to its extremely ambiguous and artsy ending. If you watch this movie do not expect any payoff.

Very, very good! 'Censor' features a great premise and it turns out to be one that is executed excellently. The feel of the film throughout is near perfection, with the tone all right and the 1980s aesthetic seemingly on point. It's paced ideally, with zero moments of drag. Niamh Algar puts in a super performance as lead. I recently watched her also impress in television's 'Deceit' - which was broadcast within a week or so of this production's cinema release, there are actually some (minor) similarities between the two; a set of dark roles for Algar, that's for sure! She's the clear standout, though props to the support cast too. Looking at a few other reviews, it seems to come down to how effective the ending is to you. For me? I think it's a great conclusion.

This was absolutely terrible. Everything about the moviw was just plain bad. Shortest review ever but there is just nothing ro say about it apart from don't waste your time.

[Sitges FF] The director revisits nasty movies after her short film "Nasty" (2015) to propose a reflection on the hysteria about violence in cinema, in an England that repressed striking workers. Interesting metalanguage about the image and its representation, although it seems that it doesn't have much to contribute to the debate. There is an exceptional visual aspect in the protagonist's journey to hell.

As a horror film, Censor is only moderately effective. There are some unsettling moments and a few bursts of gruesome violence, but if you’re expecting a terrifying or edge-of-your-seat experience, you may come away underwhelmed. Where the film truly succeeds is as a psychological drama, chronicling one woman’s slow descent into obsession, delusion, and ultimately psychosis. Niamh Algar delivers an outstanding performance as Enid, carrying nearly every scene with subtlety and restraint. Her gradual unraveling feels believable rather than theatrical, making the film increasingly uncomfortable as reality and fantasy begin to blur. Michael Smiley is also excellent as the unsettling film producer, bringing an eerie calmness that lingers long after he leaves the screen. The backdrop is equally fascinating. Set during Britain’s “video nasties” panic of the 1980s, Censor offers a compelling look at a time when governments and moral campaigners believed violent films were corrupting society. It’s a fascinating reminder that while the targets of censorship have changed over the past forty years, the debates themselves haven’t disappeared. Today the conversations may revolve around social media, AI, books, or online content, but the tension between protecting the public and preserving artistic freedom remains remarkably familiar. The story itself is refreshingly original. Rather than relying on supernatural monsters or masked killers, the film turns memory, guilt, and trauma into its greatest source of horror. As Enid loses her grip on reality, the audience is invited to experience that confusion alongside her, making the final act as tragic as it is disturbing. I wouldn’t rank Censor among the great modern horror films. But as a character study of a woman consumed by unresolved trauma and her own fractured mind, it’s far more compelling. I’d rate it around 6/10 as a horror film, but closer to 8/10 as a psychological drama.