Upon its 10th instalment, the Saw franchise poses an interesting timeline for John Kramer (Tobin Bell) and his devoted followers in order to continue the journey through the various physical and psychological traps that the numerous victims have had to endure. I realise at the time of writing that the Saw film series has become an essential entry into the horror genre with its iconic visual conundrums, and a serial killer with a mantra to cleanse the world of the mistakes we make and thereby absolving humanity through an excruciating ordeal. Besides perhaps Scream, there hasn’t been a horror film series through the 2000s that has had the kind of impact and idiosyncratic themes that lure its audience in. There are some that may say that the franchise has strayed a little from the initial premise, getting lost within its own compendium of complexities focusing on the elaborate persecution devices. The last instalment, Spiral: From the Book of Saw starring Chris Rock promised to take the series into a whole new direction, and expand the metaverse while keeping the mystery and brutality of the original at its core. It also posed the first in the franchise not to star John Kramer in its fold, so it is somewhat surprising that the latest venture, Saw X marks a return of the serial killer and some other notable faces to boot. Although Rock’s multiverse vision was thwarted by lower than expected box office return, which could be why Twisted Pictures and Lionsgate Films chose to jump back into the realm, and pull into what made the series so great? That question probably speaks for itself, but let’s delve a little deeper.

The most prominent decision was to try and add a little empathy towards our loveable villain, a tricky concept to execute when we’ve spent eight stories of the macabre which does exactly the opposite. We love Kramer’s exploits because of his cold-hearted and callous approach to retribution. So, to try and fill a back story into his plight and facing the cancer demon that threatens his life, sits as an uncomfortable juxtaposition to his exploits. It is for good reason, but we’re treated to some meaty exposition to Kramer’s personal ordeal as he is conned by a group of experimental medics who promise a false dawn in treating his brain tumour. There’s even some tongue-in-cheek quips on his road to supposed salvation. One the half an hour / forty minute rug is pulled from under his feet, Kramer pulls out the WD-40 and oils down the elaborate machinery and sets to work enacting revenge on those who wronged him and the twisted fun truly begins. One thing’s for sure… never piss off John Kramer. 

The traps themselves are delightfully disturbing albeit primitive when compared to the lengths that we’re used to. Then again, this fits nicely into the timeline, presumably set between Saw and Saw 2. It is however, the reintroduction of Amanda Young (Shawnee Smith) that adds heart to the piece as she is being taken under Kramer’s wing and we’re not only reminded of her tragic story arc yet-to-come but also of Smith’s performance range, which has been much missed in later additions to the series. She also counter-balances Kramer’s personality who is consumed by his mantra. The moments of inner conflict that Amanda experience throughout the torture sequences is fundamental to hanging the false integrity that pilots Kramer, and the problematic stockholm syndrome facet that Amanda is presented with.

The Prognosis:

This latest instalment of the Saw franchise plays out like a love song to what made the series so great. While it never quite reaches the height of the macabre and twisted delights of the original trilogy, it does paint the story with a familiar trait, rekindling our love for the world of Saw with John Kramer and his cohorts. If you can be patient enough to sit through the opening act, fans of the series will be treated to some dark fun and relish in Kramer’s disturbing approach to retribution. 

– Saul Muerte