The film is unquestionably ironic (an opening credits sequence has some of the most horrific images ever captured on film), yet it never alienates the average moviegoer. That’s because the real intrigue comes from Enid Baines (Niamh Algar, who does an excellent job portraying the character’s psychological breakdown), a video nasty editor who cuts out parts that are either too graphic and realistic for these films’ standards, or perhaps extended shots that linger on violence for too long. As the film’s title suggests, she is a member of the buzzkill censoring committee. Nonetheless, stopping the movie to observe what’s going on provides some of the most enjoyable moments.
I haven’t watched many video nasties, and I’m not sure if that helps or hinders my film expertise reputation. However, even before seeing Censor, I was aware with the colloquial phrase characterizing prohibited exploitation horror movies in the United Kingdom in the 1980s, owing to my constant consumption of information and Sam Raimi’s Evil Dead, which was branded a video nasty. The idea is that whether you live and breathe these unapologetically violent films or not shouldn’t detract from or be a decisive factor on how Censor is remembered. IMDB