Before I start my review of Saw X, I feel like I need to tell you now: My favorite Saw film is the original. My second favorite Saw film is Saw 3D. My third is Saw VI.
Something For Every Fan of the Saw Franchise
Now, if that ranking got you in a bit of a tizzy, because who could possibly like Saw 3D that much? It’s terrible (I could, and it is), you should now understand what I find to be one of the fundamental issues of critiquing the Saw films in a way that feels fair or equitable to everybody. Everybody looks for different things in them, so a non-insignificant portion of the audience believes there should be a different metric for reviewing them.
Some people are here for the traps exploding gore all over the place, some for the endearingly convoluted story and all its plot twists, and some for their favorite characters and their development. If you’re here for crazy death traps and some top-tier John Kramer dialogue, you will probably love Saw X despite its flaws and find it a worthy entry in the franchise, just as I did.
John Kramer Returns in Saw X
For those who have been sleeping on the Saw franchise, Saw X is the latest installment in the series and brings back into the fold the legendary John Kramer (Tobin Bell), the first and greatest (not arguing with you on this) Jigsaw killer. Taking place between the first and second films, we see Jigsaw’s tests of the human body and spirit head south to Mexico City for vengeance: a group of five people who wronged John in his time of need are placed in a new game, with some of his most torturous contraptions yet. All the while, newly dubbed apprentice Amanda Young (Shawnee Smith) takes her fledgling steps into the role John has planned for her when he’s gone.
Tobin Bell’s Impact
At the time of their respective releases, the ends of Jigsaw and Spiral seemed to promise an ever-increasing chain of bizarre timeline bends and new players for the franchise’s future, which excited some fans and underwhelmed many others. That promise doesn’t matter anymore because this movie mends the issue by bringing back to center stage the original heart and soul of Saw: Tobin Bell. The later films in the franchise have a big John Kramer-shaped hole in them that is hard to ignore, as Tobin Bell was undeniably instrumental in portraying an unforgettable character and steering the traps and rewriting dialogue on the fly. He was as important to the movies as any director, writer, or editor, and the cast and crew that worked with him have gone on record to say as much.
And that’s really the reason Saw X works. You can feel he’s brought that same essential energy to the role and helped guide the film, with this feeling like less of a straightforward return to form and more of a loving welcome back for Jigsaw and company that plays with the traditional formatting of the franchise. He shows off vulnerability especially here, with what is possibly his best performance to date thanks to the movie’s first act letting us really take the journey with John and see him in a whole new light.
Amanda Young’s Evolution in Saw X
Shawnee Smith also manages to capture a new side of fan favorite Amanda, as a still-green apprentice to John Kramer filling in the gap in her character development between the first two films. We get to see her slowly hardening into the person we meet in Saw II and III; it’s impressive and makes it easy to recognize the film’s place in the ever-muddied timeline almost instantly by visual and dialogue cues alone. Their onscreen chemistry is undeniable, and a solid emotional anchor to hold onto as the film chucks gore at us like an intestine lasso that pulls us along on Jigsaw’s wild ride.
The rest of the cast ranges from alright to pretty bad. Still, all of their characters are designed and written in the vein of one of those mid-to-late-2000s “you’re supposed to hate them completely” character templates. The writing hammers out bodies that are meant only to be mangled, except for one victim who clearly shouldn’t be there. This is the first and only Saw movie where I truly despised the victims in the traps, and the film will bang you over the head with that characterization. You might have found Jeff annoying in Saw III, or Charles unlikable in Saw V, and lord knows many people cheered at William’s death in Saw VI, but here our contestants are the peak of unlikable by design.
Saw X Has Some of the Nastiest Traps On Film Yet
This is a symptom of a script that really leans into the interpretation of Jigsaw as an anti-hero (especially in that hilarious ending shot before the credits roll), so if you find John’s philosophy and that framing of the character not quite your tempo, it might take you out of the movie.
In turn, the film relishes putting them through some of the franchise’s most comically evil traps, which I say with love. And yes, I say it’s comically evil, even in a franchise where they crushed a man’s head to death with two giant swinging ice blocks like Wile E. Coyote. The traps in Saw X stand as a worthy successor in the escalation of John Kramer’s machinations, evisceration engines you couldn’t think up in your wildest nightmares.
Despite being the victim of some clunky integration into the script, its final set piece is an incredibly memorable one that will still stand out among the reverse bear traps and shotgun carousels of the earlier entries as an all-timer just due to how nauseating it is. This film brings the heat with how truly nasty its traps can get, and no expense was spared to make the practical effects here look as spine-tinglingly foul as they do.
A Saw Film Shot in Typical Saw Fashion
If the rest of the cinematography is another step in the evolution of Kevin Greutert’s work, you might consider it devolution depending on how important the series’ iconic screeching-fast editing and sped-up shots are to you. They’re shockingly absent for a return to the mainline series, given he’s the editor who coined them. I would have preferred a more traditional Saw film in this regard. I can’t technically call the way Saw X is shot poor on a technical level; it’s just less unique. The film is not as visually dynamic as any other entries, but it works. And no matter what I have to say about the camerawork and cuts, on an audio level, the soundtrack kills, as always.
The Iconic Zepp’s Theme and Final Thoughts
Who doesn’t get hyped up at Zepp’s Theme, barring people without a pulse?
I have a soft spot for this film, even around its rustier, grimier bits; after all, what is Saw without some grime and rust? Ultimately, this will make a fine addition to the series because of its emotional core and instant classic traps. As a standalone entry, its script and ending can be unsatisfying at points, but if it’s the price we have to pay for more John Kramer, it’s a small fee. Saw X puts on a blood-filled, mean-spirited contest that will keep you guessing, so give it a watch, especially in theatres if you can.
Saw is rated R and has a runtime of 1 hour and 58 minutes.
