Patrick Wai reviewedJune 24, 2026 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.
