I didn’t think this was possible. I really didn’t. After the letdowns of Saw (2004)and Saw II (2005), I skipped the subsequent installments in this mega-popular horror franchise. But god help me, Saw X, which I couldn’t have had lower expectations for going in, actually is a solidly intelligent, intense, to-the-point sequel. It gives devoted fans the slickly-made grisliness they come to these movies for, as well as some fairly compelling — if not particularly deep — social commentary as the cherry on top. Even when it stumbles, this is a film made with a lot of love and skill, to the point where you can’t look away, compulsively frozen in fear.
What’s It About?
Taking place in-between the first two installments, this film opens with John Kramer (once again portrayed by Tobin Bell) as he’s been given a month to live due to his brain cancer. Desperate for a solution, John finds hope in a miracle treatment suggested by a support group member named Henry Kessler (Michael Beach). For this procedure, he will undergo a one-time operation, followed by regular dosages of a special medication that will not only rid him of his tumor, but ensure it stays away. After he flies down to Mexico and undergoes the surgery, it seems to be successful, and the staff responsible — Dr. Cecelia Pederson (Synnøve Macody Lund), nurse Valentina (Paulette Hernández), anesthesiologist Mateo (Octavio Hinojosa), and Dr. Cortez (Joshua Okamoto) — are warm and confident in John’s recovery, which leaves him with a new lease on life. In fact, he even considers ending his reign as the twisted killer Jigsaw. However, when John goes to gift Gabriela with some liquor and finds the team’s medical facilities abandoned, he realizes they completely scammed him, and decides to teach these people a lesson.
Along for the ride is Amanda (Shawnee Smith), who famously survived the infamous “Reverse Bear Trap” from the picture, and who seeks to follow in her former captor’s footsteps. Once the two have rallied up their targets in one place, director/editor Kevin Greutert gets right down to business with the low-budget, contained, creatively gory and psychological torture these movies are known for.
Where Does It Work?
Where Saw X benefits the most is in spending so much time with John early on, allowing us to feel sympathy for his struggle with cancer, so that we feel genuinely as devastated and betrayed as he does once he discovers he’s been conned. Tobin Bell, who clearly relishes every chance to play this character, also leans into John’s long-buried layers of humanity, as he watches a potential thief contemplate stealing a watch, then congratulates the young man when he stops. He helps a boy fix a bike, and partakes in drawing replicas of Mexican landmarks. As he observes his prey, Bell’s face is a study in simultaneous contempt, heartbreak, and longing to believe in people again. He doesn’t seem like he’s enjoying his deeds, but he certainly can’t think of a more proper alternative.
I also appreciated how writers Peter Goldfinger and Josh Stolberg handled the relationship between John and Amanda. Though the latter seems initially as sadistic as the former, she quickly reveals inner doubts about the morality of their work, which not only creates for compelling conflict between these people, and instills hope that their victims may make it out of this situation so they can improve their behavior.
It also helps that the traps incorporate quite a bit of ingenuity, as well as filmmaking so squirm-inducing I actually had my hands beneath my eyes, ready to hide them if necessary. Kevin Greutert, a veteran of this series, knows how to stage and time the cuts of each graphic sequence so that we’re horrified, whilst unable to look away. He also keeps the proceedings at mostly the same breakneck pace as the previous films, but goes a little slower at the start so we can sympathize with John.
When it comes to the traps, each of the hapless victims at the center here are put into situations specifically designed to play off of their specific roles in putting one over on John. This makes it more interesting because we’re constantly thinking about the commentary established in the setup. This is not only a cinematic freak show, but a scathing indictment of how big Pharma profits off of patients not getting better, no matter what the ailment.
Where Does It Fall Short?
Where Saw X falters is an early trap sequence involving the aforementioned (almost) watch thief, and some climactic choices that left me scratching my head. After the crook initially nabs the expensive jewelry, we see him restrained in the infamous ‘eye vacuum’ trap depicted in the trailer, and which even acts as this movie’s poster image. As soon as the poor guy serves his punishment, this whole scene is revealed to have been a fantasy of John’s, before the watch is returned to its rightful place. Eyeball gore is honestly a sensitive point for me, as a horror fan not at all adverse to intense violence. But if you’re going to give us something this grotesque yet skillfully crafted, actually follow through and don’t cop out.
As for those character choices as the whole plot comes to a head, Dr. Pederson attempts to turn the tables on John and Amanda, showing just how truly ugly her personality is. She ends up adding what feels like a tacked-on extra trap, and pairs John with the child he helped out before . I was ready for the credits, and repulsed at the decision to throw a kid into this whole mess. The boy does live (the only spoiler I’ll give in this review), but even so, it was a bridge too far even for me.
There is also a revelation for which the film cleverly lays out all the seeds very clearly throughout. But when it comes to light, Kevin Greutert can’t help but unnecessarily revert back to the cliched Saw tradition of showing fragmented flashbacks as we are doled out information we could’ve put together on our own. The classically chilling series theme by Charlie Clouser that accompanies said twist is a small consolation at best.
Conclusion:
In the end, Saw X is about what you’d expect, with a little extra. It is well-acted, the scary and violent stuff is well-handled, and the social commentary is to-the-point and effective. The shortcomings it has can easily be forgiven, as I for one was consistently engaged in tense anticipation of wherever this thing was gonna go next. That’s the most ringing endorsement I could possibly give.
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