Saw was pieced together by two first-time filmmakers, director James Wan and writer Leigh Whannell. They envisioned that old movie favorite, the imaginative serial killer. Their killer would put people in horrific life-or-death situations, testing our will to live even if it meant rummaging around the intestines of a live human being for our key to freedom. With a budget of a mere million dollars, Wan and Whannell have executed a dark, slick, sometimes thrilling, sometimes laughable fright flick. The only question is if audiences are hungry enough for the splashes of blood Saw can deliver, or if they’d rather watch Sara Michelle Gellar turning Japanese.
Adam (Whannell), a private photographer, and Dr. Gordon (Cary Elwes), a workaholic surgeon, are in a very strange circumstance. They’ve both just awoken and find themselves chained by their feet at opposite ends of a bathroom with a dead body between them. Neither has any idea how they got there. Dr. Gordon theorizes that they’re the culprits of the Jigsaw Killer, a psycho that places his victims in elaborate death traps they must fight to get out of. In the pants pockets of Adam and Dr. Gordon are audio tapes from Jigsaw establishing the rules of this “game.” In eight hours, if Dr. Gordon does not kill Adam, his wife and daughter will be killed. Jigsaw has even left them clues to their escape, most notably a pair of rusty saws not strong enough to cut through their chains, but still plenty strong to slice through their feet if they so choose. Outside this game, Detective Tapp (Danny Glover) is closing in on the identity of the Jigsaw Killer and may be the only hope Adam and Dr. Gordon have.
Saw is a grisly horror movie that hits the right macabre marks. Horror is such a tricky genre, and you can either build tension in an effective what’s-around-the-corner kind of way (The Ring, 28 Days Later), or, if that fails, and it often does (The Grudge anyone?), you can cut your losses by showing the gory goods (Texas Chainsaw Massacre, any slasher film). This isn’t to say one version is inferior to the other; sometimes we just want to be grossed out. Saw is a horror film committed to horror, sometimes to a rather unpleasant and sadistic point. In a way, the fact that Saw goes for broke in its depiction of the grotesque makes it more enjoyable than recent horror fair that tried to hedge their bets on jump scares and nosy cats.
In some manner, Saw is like a dumber, trashier Seven. They both involve serial killers with agendas and they both give the killer the upper hand. While Seven is a masterpiece of the thriller genre, Saw is a mostly entertaining horror entry. Its premise is razor-sharp and really hooks an audience. We know only as much as the characters do, so their discoveries work two-fold. The pacing is tight, the cinematography is exceptional for its budget, and the end had me jump out of my seat. I will say this; Saw reluctantly seems to think that it needs to reveal the identity of the Jigsaw killer, as well as his motives, to satisfy an audience. I think no answer could ever be satisfying; however, the actual reveal of Saw‘s true killer had me wanting to give the filmmakers a standing ovation. There are fleeting moments of greatness here among the misery. Whannell knows when to show which cards, and it makes the story more enticing.
There are glaring issues with Saw. The acting is one of them. Elwes is usually a stable character actor, but chain him to a wall and say,”Go!” and the man will overact as if his real wife and child depended on it. Whannell, a first time actor and the co-writer, goes deliriously over the top in some battle of scenery chewers. Don’t feel too bad if you feel like laughing during certain moments of “emotional turmoil.”
Saw seems to exist in that magical place known as It Could Only Happen in Movies World. For example, a serial killer designing highly elaborate, and personally clever, death traps could only happen in a movie. I love the fact that the film even shows evidence that the Jigsaw Killer builds dioramas of his future death traps. If he entered them in the Third Grade Sadistic Science Fair, I’m fairly certain he?d at least earn a blue ribbon or a gift certificate.
Yes, only in a movie are we expected to believe one man can kidnap people, lug them around, set up his elaborate Rube Goldberg puzzles, and then kick back and elude police capture. The entire premise of Saw is whole-heartedly ludicrous, and the plot turns are heavily contrived, but, as an audience, you must yield such ordinary eye-rolling to enjoy the pleasures of Saw. If you can swallow plot holes and just go with the film’s skewed logic, there is some enjoyment to be had.
Wan can also be his worst enemy. Too often he punctuates chase scenes with pounding heavy metal, which does little more than numb an audience. Wan’s film loses some of its focus in the middle as the audience endures flashback after flashback. To goose up the viewing, Wan shoves in extraneous flashes of gore. Just like The Exorcist prequel, flashes of something horrific do little more than to cause an audience to yelp. They’re immediate. If you want true gut-churning reactions, you have to build, and in the end Saw remembers what it came to do and sprints to the finish line.
Saw also exists in the grimiest possible world. Whether it be parking garage, office, or even personal apartment, the characters of Saw exist in some netherworld of filth crying out for an army of scrubbing bubbles. I’m sure this was intentional, but can’t any place in horror movies afford a coat of paint nowadays?
Saw is a gruesome, twisted, sometimes sadistic horror movie with a knock-out premise, a moderately good ending twist (not the final end, though), and some lag time in between. Wan and Whannel really stretch their budget to impressive ends and imply more blood and guts than are shown. Fans of hardcore gore horror should be pleased with Saw, though they may find themselves giggling at it from time to time. I was hooked by its premise and found myself getting more intrigued as the revelations began to sift. Many will find Saw too ugly, gory, or stupid, but for fans of the genre, it should satisfy the itch recent PG-13 horror couldn’t efficiently scratch. Saw is violent, contrived, ridiculous, but also, in the end, gruesomely entertaining in parts.
Nate’s Grade: B-