Censor

Indie movies like this one aren't out to make a killing, but consider me slain.

This thrilling, dizzying debut from Welsh writer-director Prano Bailey-Bond is a nostalgic treat for anyone old enough to remember the infamous "video nasties" scare of the early 80s.

Censor feels lovingly worked-at, slathered in period detail and aesthetic beauty.

Algar's intense performance ... keeps the momentum surging throughout. A clever concept carried out with great invention and some emotional honesty.

This half-baked horror is all context and no content.

If Censor isn't in the same class as last year's outstanding British horror debuts, it remains a promising start, and it will be fascinating to see what this film-maker can do once she engages more emphatically with the world.

Enid’s willingness to go down that rabbit hole is reminiscent in a certain way of Harry Caul in The Conversation...

Censor is intricate and thought-provoking without being convoluted. The film is both an ode to the video nasties and a look at why they had such command over the public.

A film that offers something far different and more unique by not harking back to horror films of yesteryear, instead of providing cerebral, meta-yet-direct protection of the genre from the often given ignorant criticisms about horror as a whole.

It is a sensational idea of Bailey-Bonds to base her horror film around British film censorship.