In an era dominated by family-friendly blockbuster cinema featuring VFX-laden visuals and righteous heroes, Saw X stands out as a refreshing throwback to the early 2000s. During this period, mid-budget thrillers with unapologetic gore and ample violence were classified as ‘popcorn entertainment,’ coexisting with the rise of superhero films. Saw X seamlessly captures the aesthetics of an early 2000s thriller, from its color grading and snap zoom shots to its minimal setting and abundant on-screen blood.
Cast
Tobin Bell, Synnove Macody Lund, Paulette Hernández, Octavio Hinojosa, Renata Vaca, Shawnee Smith
The Film Commences
The film commences with the central antagonist, serial killer John Kramer (Jigsaw), now aged and battling terminal illness. An imaginary Jigsaw kill serves as an early reminder of the film’s violent core. The narrative unfolds with an elderly John Kramer embarking on a quest to cure his cancer. The absence of foreboding or extravagant twists in the initial scenes adds a refreshing simplicity. The first major twist, acting as the inciting incident, unfolds plainly, setting the stage for a roller-coaster narrative. Interestingly, every character encountered by Kramer on his quest turns out to be a seemingly benevolent angel, gently leading the audience towards an impending twist. The revelation occurs when Kramer realizes he has been deceived by these ‘benevolent angels,’ revealing the elderly man as the Jigsaw killer—a deadly combination of a serial killer and an engineering genius.
Creative Death Traps
The film’s creative death traps, or ‘games’ as termed by Kramer, are the essence of the franchise. These gruesome and inventive contraptions cater to those longing for gore in mainstream cinema. Thankfully, the filmmakers avoid overly extravagant setups that could have turned them into comical Rube Goldberg machines. While the kills are creative and appropriately repulsive, there is room for more boundary-pushing. The impact of the violence and blood diminishes towards the end, but the emotional intensity portrayed by the actors compensates for it.
The Twist at the End
Yet, the film openly displays its rough edges without attempting to conceal them. The twist at the end, coupled with a shift in character behavior, exposes a sudden decline in writing quality. Shallow attempts at the end to make already unlikeable victims more loathsome feel desperate, aiming for a cathartic final kill. Tobin Bell’s portrayal of John Kramer (Jigsaw) stands out by offering much with minimal action. His raspy, imposing voice punctuates chilling moments, and Bell convincingly embodies the stoic malevolence of a frail old man with a twisted mind.
Saw X succeeds
Saw X succeeds when viewed with the understanding that it offers a creative showcase of people meeting their demise in distinct ways. Its fun and lack of serious pretension prevent empathy for the characters, allowing audiences to indulge in the gore-fest as a liberating exploration of the darkest corners of the mind.