Oh Saw, Saw, Saw. When will you end? To some, the Saw series is a never-ending gorefest riddled with inane story twists and preposterous concepts. To others, it’s the same thing…except they love it. Donning the 6th entry into the franchise this year, Saw has managed to stand the test of time and rake in the flow of cash year after year after dreadful year. But, we all know that just because a film makes good money and reels in audiences doesn’t necessarily mean it’s good (Transformers 2, I’m looking at you). Yet, there are the films that are both critically acclaimed and beloved by the average movie-goer (The Dark Knight). Saw’s track record hasn’t exactly held up prominently in either of these spectrums, considering people complain year after year about how “stupid” or “ridiculous” the films are, yet they still see them and critics still pan them.But soft! What light through yonder window breaks? Films with multiple sequels, historically, fail little by little as time continues. Yet, in some cases (as with trilogies), the sequel can be just as good, or even better than the original. To this day, I hold the original Saw film in high regard for what it accomplished and how it embedded itself into pop culture and retained its shock value. The odds that any of the sequels will be better, or good in any regard, are low. I’m here to say, however, that 5 bone-snapping, skin-melting, eyeball-exploding, needle-stabbing, jaw-cracking, electrifying, shotgun-to-the-head films later, they got it right. They went back to the roots of the original Saw, and, albeit a new director, it’s helmed fantastically.
Unfortunately, even the original Saw wasn’t exactly a “great” movie. The sequels have only bludgeoned the merits of the original to death with what the people want: more gore. In fact, the tag-line for the second film was “Oh yes, there will be blood.” That’s pretty much the ultimatum given for the rest of the series in that every new entry has to do things bloodier, more disgusting and even more creative than before. Creativity is one of Saw’s strong suits; even if you hate the films, you have to admit that the contraptions and methods of execution are well-played.
Everything I just stated pertains to Saw VI in pretty much every way; it’s more vile and revolting than the last few entries. Of course, that’s completely debatable amongst the opinionated torture-porn enthusiasts among which film, or even which scene, is the most atrocious. Many may speculate that the film has absolutely no merit nor purpose of existence other than to cheaply disgust you as many ways as possible. This may be true, but it’s 99% of what Saw is supposed to be, and if you can enjoy a cheesy romance flick for the stereotypical and formulaic plot it retains, you can’t exactly knock Saw for what it’s doing.
So let’s get down to what Saw VI gets right and wrong. I won’t even touch the story; by now, as anyone who’s vaguely followed the series will surely vouch, plot holes remain abound. There are just too many things going on in the story that don’t make sense or are just so mind-blowingly improbable. Specifically, Jigsaw’s death has had pretty much no effect on the overall film’s plot. Yes, other people are technically carrying out his works and it moves the plot forward about as much as a baby can tip over Stonehenge, yet it still feels like it’s stuck 5 films back. The exact same things are happening and it has fallen prey to its own formula: teeth-grinding suspenseful nastiness in the beginning, title and opening credits, police investigation, introductory torture scene, then it fades in and out between the police’s involvement and the characters involved in the actual “game.” In this film, a man by the name of William Easton (Peter Outerbridge) who is a corrupt insurance salesman is pitted against various people in his life in a self-reflecting marathon of macabre choices. He has a “formula” of sorts to predict whether any given prospective investor in his company will live a healthy life, thus ensuring the success of that customer, or a risky life in which lawsuits and other trifles await. After denying a man insurance coverage for a surgery that would potentially save his life due to faulty information on his application, he becomes the next target of Jigsaw’s legacy. Because of his method of decision-making, he is given the ultimate test to let live or kill these specific people.
Now there is a fun twist at the end of the movie, but it feels a little cheap. That’s all I can say about that. While the background plot and the current story are wishy-washy at times, what matters is how it’s all carried out. From beginning to gut-wrenching end, Saw VI officially masters one element of its genre that none of its predecessors did so well: suspense. Every single scene has you in a state of constant deliberation inside your head of what you think is going to happen, how it’s going to happen and why. Sure, the ideas at large are pretty simple, but mix in the excellent execution of suspense and payoff with the creativity of it all, and Saw VI ends up being just as entertaining as it is preposterous.
Acting is sub-par, per usual, with the usual cast of nobodies playing the leading roles. Tobin Bell, however, remains fantastic and just as creepy as ever. Dialogue is a pretty dumb mix of expletives, yelling, and basic information-giving. Again, per usual, there’s no real attachment to any of the characters in the franchise. Perhaps at first, you felt a little remorse and sympathy for Amanda, but we all know how she turned out to be.
The film has an overall bleak tone. I’m not a fan of films that utilize a strange sort of tungsten filter while shooting (to give it that industrial and depressing “blue” look). Saw is a pretty ugly film to look at, from the dilapidated buildings to the unoriginal police. The only time Saw really shows its beauty, ironically, is when it’s at its ugliest. What you may be able to make out through your interweaved fingers or the corner of your eye is some really well-done bloody gory special effects. At times, it’s a bit ridiculous, but hey, that’s what Saw is about. In fact, it feels as though Saw has a sense of horribly dark humor which, ultimately, makes it that much more enjoyable. The film pokes fun at itself with its toe-deep, disposable characters, and it has every right to. For those of you who pan the film for being stupid, you’re in the right but you also have to be able to suspense your disbelief for a while. At least Saw keeps consistent with its inconsistencies; its brains lie within the scenes depicting the suspenseful doom-to-be, not the conspiracy-riddled back-story.
All-in-all, Saw VI is pretty much just going to be exactly what you’re expecting. If you hate the films thus far, you’ll probably despise this one just as much. If you’re like me and love the Halloween mood that Saw centers itself around, you’ll enjoy it. The Saw franchise is just one of those hit-or-miss deals; you either love it and stay with it or you loathe it and stay away from it. Either way, Saw VI is much better than the last few installments. I still hail the first as the best so far, but Saw VI just might be the best sequel. This could be attributed to new Saw director Kevin Greutert (who edited the past Saw films). The people behind the film know what they’re doing and certainly know how to rip the money right out of your wallet. As a standalone feature, Saw VI is just as bad as the rest of the series has been, but if you like Saw, it’s a breath of fleshy fresh air. The edge of your seat is your new best friend.
6.0/10
-Kyle Shelton
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