{"id":166129,"date":"2021-01-29T19:00:08","date_gmt":"2021-01-29T16:00:08","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/censor-review-sundance-2021-film\/"},"modified":"2021-01-29T19:00:08","modified_gmt":"2021-01-29T16:00:08","slug":"censor-review-sundance-2021-film","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/censor-review-sundance-2021-film\/","title":{"rendered":"#Censor Review: Sundance 2021 \u2013 \/Film"},"content":{"rendered":"

“#Censor Review: Sundance 2021 \u2013 \/Film<\/strong>”<\/p>\n

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\"censor<\/a><\/p>\n

It\u2019s the 1980s, and the United Kingdom is clutching at their pearls over a wave of video nasties \u2013 low-budget, ultra-bloody horror films that are on the rise thanks to the miracle of VHS. While a sensible person may realize that such films \u2013 violent as they may be \u2013 are harmless, paranoia has set in, with many assuming that these schlocky gore-fests will lead to the complete collapse of society. The only safeguard against the videos is a group of censors. One such censor is Enid (Niamh Algar<\/strong>), who toils away in screening rooms and sees herself as the last line of defense between video nasties and the viewing public.<\/p>\n

Prano Bailey-Bond<\/strong>\u2018s\u00a0Censor<\/em><\/strong> pays tribute to the era of video nasties by nailing that \u201980s aesthetic to a T. There\u2019s a lot of beige; the clothes the characters wear are drab; and, most of all, the horror films playing on fuzzy TV screens are cheap and drenched in bright-red blood. As an exercise in style alone,\u00a0Censor<\/em> succeeds \u2013 we\u2019re fully transported into its world where Z-grade horror movies<\/a> on VHS tapes have an unusual, unprecedented thrall over viewers.
\nEnid app<\/a>ears to have no life outside of her job, but she\u2019s also continually haunted by the disappearance of her sister many years ago. In vague, dreamy flashbacks, we see Enid and her sister wander into the woods. But that\u2019s all Enid says she remembers, and now, all these years later, her parents are ready to move on and declare the missing sibling dead.<\/p>\n

The decision triggers something harmful in Enid\u2019s mind and she begins to suffer what appears to be a slow-moving nervous breakdown. Things are further complicated when someone in the UK commits a bloody murder which is then blamed on a video nasty film that Enid was in charge of censoring. The tabloids turn her into a punching bag, flat-out blaming her for the murder. And if all that wasn\u2019t enough, Enid watches an old horror movie called\u00a0Don\u2019t Go In the Church<\/em> that eerily mirrors her own memories of her sister\u2019s disappearance. The film begins with two sisters wandering into the woods, one of whom meets a ghastly fate.<\/p>\n

Algar\u2019s work in these formative moments of the narrative is solid, with the actress perfectly conveying Enid\u2019s increasingly fractured mindset as she grows more obsessed with trying to find the connection between\u00a0Don\u2019t Go In the Church<\/em> and her sister\u2019s vanishing. The set-up allows filmmaker\u00a0Bailey-Bond to embrace surreal scenarios, full of moments where the aspect ratio shifts to resemble an old, cheap video, and lighting effects that transform from drab to garrish. Horror fans will take solace in the atmosphere at work here, ditto the shots of cheap-o horror films that are consistently splashed across boxy TV screens.<\/p>\n

But\u00a0Censor<\/em> also runs out of momentum. Once its initial set-up is out of the way the film can\u2019t sustain itself for very long, resulting in a lifeless journey to a predestined finale. What keeps the film\u2019s head above water are the occasional flashes of nerve-jangling horror \u2013 there\u2019s one dream sequence shock that\u2019s bound to be a favorite among jump scare aficionados, and the film\u2019s climactic sequences, while predictable, still manage to chill, thanks primarily to Algar\u2019s unhinged performance.<\/p>\n

Censor l<\/em>ives and dies by its influences and those craving a meticulous recreation of drab \u201980s bureaucracy clashing with Day-Glo gore will no doubt find comfort in the familiarity of it all.\u00a0 So much modern-day horror seems beholden to the horror of the past, and\u00a0Censor<\/em> is no exception. It works as a loving homage to the era of slap-dash, go-for-broke \u201980s horror, but it ultimately adds nothing to the conversation.
\nThere are glimmers of something far greater buried beneath all the style \u2013 the shots of news<\/a>casters decrying the creeping influence of VHS horror; fantasy sequences where Enid dreams all video nasties have been banned and Britan has become a conflict-free utopia; Enid dealing with a chauvinistic, abusive movie producer (Michael Smiley<\/strong>, who excels at these sort of creepy-guy roles). I wanted more of that and less of the recurring blue-and-red gel lights and shots of cheeky VHS cover boxes.<\/p>\n

\/Film rating: 6 out of 10\u00a0<\/strong><\/p>\n

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