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Non-Review Review: Censor

Censor is a love letter to the era of so-called “video nasties” and an exploration of the moral panic that tends to encompass discussions of the genre.

Niamh Algar plays Enid, the eponymous moral guardian with a traumatic back story who has committed herself to protecting the nation’s sanity by watching and rating the low-rent horrors flooding the market. Over dinner conversation, Enid takes offense when her mother asks if she has seen any good movies recently. “It’s not entertainment, Mam,” Enid snaps. “I’m protecting people.” It’s very clear that Enid believes this, taking meticulous notes and engaging in rigorous debates about exactly how much eye-gouging the public can tolerate.

The Green Night.

On the surface, Censor is a movie with a plot that loosely suggests something akin to Hardcore or 8mm. Throughout the film, hints are dropped about Enid’s traumatic past, including the mysterious disappearance of her younger sister while the two girls were playing together. When the latest film from a provocative auteur named Frederick North crosses her desk, Enid seems to recognise one of the on-screen victims. Is her sister still alive? Has she been swallowed by this world of exploitation horror cinema? More to the point, can Enid finally rescue her and bring her home?

The beauty of Censor lies in how co-writer and director Prano Bailey-Bond plays with this familiar set-up, building a movie around the idea that horror movies are a form of escapism for moral guardians as much as the intended audience, a space into which these people can project their own nightmares and anxieties without ever having to confront the reality of the world around them.

Signalling concern.

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New Podcast! The Escapist Movie Podcast – “Censor is a Celebration of and Exploration into Classic “Video Nasty” Horror”

The Escapist have launched a movie podcast, and I was thrilled to join Jack Packard for the twentieth episode of the year. We discussed two interesting new horror releases: the restoration of George A. Romero’s long lost The Amusement Park and director Prano Bailey-Bond’s celebration of the “video nasty” era with Censor. We really enjoyed both of them.

You can listen to back episodes of the podcast here, click the link below or even listen directly.

Non-Review Review: The Last Right

The Last Right is perhaps a little too driven by cliché and a little too heavy handed in its emotional beats, but it’s genuinely charming and benefits from a clever concept and an endearing cast.

To be fair, The Last Right runs into its problems in its first and third acts, in setting up and resolving its central dynamics. These problems flow largely from the fact that so many of details around the edge of the central premise of the film feel lifted from a collection of stock eighties American dramedies. Certain key elements of The Last Right feel like they came packed in an IKEA box ready for assembly, and so the movie’s introduction of and conclusion for those elements tends to feel rather rote.

Carry on…

However, The Last Right really kicks into gear once it has done that initial set-up, allowing its characters room to breath and interact with one another within the relatively safe but also free-form template of the classic road movies. Road movies largely live or die based on the chemistry of the cast and strength of the humour, and The Last Right works well on both counts. There’s a relaxed ease to The Last Right, a willingness to trust the actors and the characters to carry the bulk of the film.

The result of a trip with a few bumps along the way, particularly at either end of the journey. However, for most of the adventure, The Last Right is a pretty enjoyable ride.

Death drive.

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