Reviews
X MARKS THE SPOT: A Spoiler-Free 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 to the Saw Series
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.
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.
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.
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.
Who doesn’t get hyped up at Zepp’s Theme, barring people without a pulse?
BOTTOMLINE: 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. It releases in theaters on 9/29/2023.
Reviews
[REVIEW] ‘The Last Thing Mary Saw’: A Tale of Love and Loss
The Last Thing Mary Saw takes us to 1840s New York, where Mary (Stefanie Scott) finds herself on the opposite end of the law. Her family has been massacred, and she is the prime suspect. Mary’s life has been turbulent lately when word of her relationship with housemaid Eleanor (Isabelle Fuhrman) comes to light.
I’m pretty much a broken record at this point from saying I’m not a huge fan of pre-1950s period pieces. The Devil’s Bath was a recent film that changed my mind about how I view period pieces, especially ones with a distinct message. For June, I wanted to take a wider look at LGBTQ+ representation and not just watch films that take place in a modern(ish) world. The Shudder Original The Last Thing Mary Saw could be the film to bring me out of my comfort zone and transport me to a world I would never know.
Exploring LGBTQ+ Representation in Historical Context
The Last Thing Mary Saw takes us to 1840s New York, where Mary (Stefanie Scott) finds herself on the opposite end of the law. Her family has been massacred, and she is the prime suspect. Mary’s life has been turbulent lately when word of her relationship with housemaid Eleanor (Isabelle Fuhrman) comes to light.
Love will always find a way, but the outcome may be far from what you expect.
Edoardo Vitaletti’s Directorial Debut
Writer/director Edoardo Vitaletti’s directorial feature debut is truly a sight to behold, pun intended. His approach to this film is one of care and respect. The film’s subject matter is incredibly distressing, and while not ‘based on…’, it feels all too authentic.
Mary and Eleanor are put through emotional and physical torture by those who vehemently disagree with their lifestyle. One thing I could never understand about religion is the hate that surrounds it. Luke 6:31, “treat others as you want to be treated.” Matthew 7:12, “So in everything, do to others what you would have them do to you.”
But the hate felt by nearly every marginalized community comes from the people who spend two hours on their knees for a zombie every Sunday.
A religious-like film such as Martyrs revels in its torture and uses it as a focal point to create a concise line between good and evil. Rather than making it a focal point, Vitaletti uses the pain and anguish of Mary and Eleanor to tell the heartbreaking story of two women who just want to be in love.
Standout Performances by Scott and Fuhrman
Stefanie Scott gives a chilling performance as Mary, but while not the titular character, Orphan’s Isabelle Fuhrman steals the show. Vitaletti struck gold on the casting for his debut as narry a performance falls flat.
It’s impressive to see a filmmaker with a singular short film under his belt pull such powerful performances out of actors while simultaneously never losing sight of their visual storytelling. Along with Black Friday cinematographer David Kruta, Vitaletti crafts a deliberate, atmospheric tale of love and loss.
A Gripe with Chapter Breakdowns in The Last Thing Mary Saw
My main issue with the film is something I’ve discussed before and is a pretty ridiculous gripe. Films that are less than one hour and 45 minutes should not be broken down into chapters. It strains a film’s pacing and puts the creatives in a box where they MUST hit certain beats to get to the end of said chapter.
There are some moments in the film where it does feel stretched out to accommodate its chapters, as well as times it feels a bit forced to end a chapter.
The Last Thing Mary Saw is a beautiful look at a time thankfully long gone. Well, there are still, unfortunately, a few too many people who think like the antagonists of this film. I’m not sure of the staying power a film like this has in the overall zeitgeist of the genre.
It doesn’t do enough to stand out as a powerful film, even though it’s visually gorgeous and has enough agency to feel effective in what it’s trying to say. This film is definitely not Friday night movie marathon material (it would put one hell of a damper on the night!), but the genre is in an overall better place because it exists.
Reviews
[Tribeca Film Festival 2025] ‘Man Finds Tape’: A Sinister Mockumentary With Something For Everyone
For centuries, humans have been captivated by photographic evidence of the supernatural. From 19th century spirit photos to modern day TikToks of mimics, we just can’t get enough. Paul Gandersman and Peter Hall’s debut feature Man Finds Tape explores the idea of recording supernatural phenomena, as well as how other people react to it.
The Viral Mystery of Man Finds Tape
Lucas Page (played by William Magnuson) achieved internet notoriety after finding old, disturbing tapes in his childhood home, where he still lives. After the discovery of the first tape, which features him as a child and an unidentified person who puts something in his mouth while he was sleeping, Lucas began documenting his investigation into it, as well as the discovery of other tapes—featuring the other members of his family. As one does in our modern age of “share everything!”, Lucas posted videos of his investigation online, in a series he titled—you guessed it—“Man Finds Tape”. His series went viral, leading to thousands of people getting invested in the unfolding story, spectators egging him on, doubters accusing him of making everything up…and, of course, people tracking down his sister, Lynn (Kelsey Pribilski), and posting TikToks in which they invade her space and intrude upon her professional life.
Lynn is, understandably, not a fan of “Man Finds Tape”, so she’s less than thrilled when Lucas requests an urgent Zoom call to show her a video. This one isn’t from their childhood, though; it’s recent surveillance footage of a fatal hit-and-run on a main street in their hometown of Larkin, Texas. The homicide happened in broad daylight, and there were witnesses…sort of. In the video, everyone on the street stops moving simultaneously with their heads bowed down.
It’s enough to get Lynn to return to Larkin, albeit reluctantly and with a healthy amount of skepticism. When she reunites with her brother to help him investigate, things take a sharp twist and get even weirder. The siblings find themselves in the midst of a supernatural occurrence that’s been infecting the people in Larkin for years. At the heart of it all is Reverend Endicott Carr (John Gohlson)—a charismatic preacher and televangelist revered as a pillar of the community.
Style and Execution: A Fresh Take on Found Footage
Presented as a documentary, complete with 911 calls, interviews, recovered footage, and internet forums, Man Finds Tape is a bold and genuinely unsettling addition to the found footage horror genre. Pribilski and Magnuson star as Lynn and Lucas, respectively, both independently and as a team in their shared scenes. Their portrayal of familial conflict overcome by unwavering love and loyalty makes them believable as siblings. Nell Kessler also shines through in her performance as Wendy Parker, Lucas’s one-time girlfriend who is now a surrogate carrying Carr’s baby. Brian Villalobos is also featured as a mysterious stranger who is running his own investigation into Carr. Gohlson’s performance as Endicott Carr is fantastically sinister, but not overly so—he balances paranormal spookiness with the run-of-the-mill creep factor inherent in televangelists.
Along with a strong cast, Man Finds Tape has an interesting and compelling story that will hold viewers captive and at the edge of their seat. There’s something in this film for everyone: true found footage (as in, characters find disturbing recordings), a well-executed mockumentary style, cryptids, small town eeriness, body horror (major trypophobia warning!), and religious horror. The film gets a bit too expository towards the end, but the rest of the movie more than makes up for it.
Man Finds Tape had its premiere at Tribeca Film Festival
[REVIEW] ‘The Last Thing Mary Saw’: A Tale of Love and Loss
[Tribeca Film Festival 2025] ‘Man Finds Tape’: A Sinister Mockumentary With Something For Everyone
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