Jigsaw


Hannah Emily Anderson observes her motivation.

(2017) Horror (Lionsgate) Matt Passmore, Tobin Bell, Callum Keith Rennie, Hannah Emily Anderson, Clé Bennett, Laura Vandervoort, Paul Braunstein, Mandela Van Peebles, Brittany Allen, Josiah Black, Edward Ruttle, Michael Boisvert, Sam Koules, Troy Feldman, Shaquan Lewis, Esther Thibault, Lauren Beatty, Nadine Roden, Adam Waxman, Arabella Oz. Directed by Michael Spierig and Peter Spierig

 

It doesn’t seem all that long ago (but in reality has been a decade) when every Halloween like clockwork a new Saw film would come out. The original film was gruesome and cruel but had a clever side to it and appealed not only to gorehounds but also to mainstream horror fans as well. Not everyone was fond of the series; after all, it did kick off the “torture porn” genre that made a lot of critics as well as sensitive sorts uncomfortable. After a seven year run, the franchise was shut down by Lionsgate who quite frankly became a fairly major player thanks to Jigsaw and his fiendish traps.

Now seven years since the final entry in the series Lionsgate has seen fit to resurrect the franchise. Will it begin a new  and profitable run, or will it be destined to be a one and done?

Five people have been unwillingly gathered in a barn-like structure which is quite the house of horrors. In each room, the five are given a choice mainly to confess their crimes or make a blood sacrifice. In each room, the number of the survivors is reduced by one as those who are unable to confess or sacrifice something are offed in gruesome and inventive (sort of) ways.

In the meantime a pair of cops (Rennie, Bennett) is chasing down a number of bodies that have begun turning up that would seem to be the work of John Kramer (Bell) – who died more than a decade earlier. Aided by two coroners – one an Iraqi war veteran who was at one time captured and tortured (Passmore), the other a comely Goth punk-esque vixen (Anderson) who has a somewhat suspicious obsession with the killer known as Jigsaw – the cops chase down what could only be a copycat killer…or a ghost.

Jigsaw doesn’t show a whole lot of originality or imagination either for that matter. Some of the traps are taken from previous films in the franchise which doesn’t feel so much as an homage as it does a rip-off. Even the plot feels like it has been recycled from previous films, although I have to admit the end twist was pretty gnarly.

It’s not exactly a spoiler that Bell appears in the film as Jigsaw who died of cancer following Saw III. However, that hasn’t stopped him from appearing in all the succeeding films in the franchise including this one which is a good thing because he has been the best part of the series all along. He is one of the great horror villains of all time and yet he rarely does the “dirty work” himself; he simply captures people he feels need to prove themselves worthy of continued life and puts them in situations where their survival depends on their own strength of will and willingness to take responsibility for their actions and yes, the actions that the five in the barn have committed are pretty heinous indeed.

The gore is pretty intense here but veteran horror fans should have no problem with it. Those who are more dilettantes might be a little more squeamish in that regard. The traps are fairly Rube Goldberg-like although a couple were kind of lame. Those who have at least a passing familiarity with the basics of the film series should have no difficulties following the action but those coming in fresh without ever having seen any of the first seven films are going to be scratching their heads an awful lot.

The big problem here is that the movie feels rushed; the only time that the directors seem to take their time on anything is when the barn denizens are on the edge of getting mangled. Otherwise it feels like they’re impatient to get to the next gruesome murder. Maybe their core audience is too. The rest of us though may wish for a bit more exposition. Even given that, the movie doesn’t have a lot of energy; I did see it at a matinee screening that was mostly empty and maybe I would have felt differently in a crowd of horror fans enjoying the hell out of themselves. That’s probably the best way to see this.

In any case, this isn’t the worst film in the series nor is it the best. It falls pretty much solidly in the middle. I doubt that the hardcore fans of the series will be satisfied with this effort; and I don’t think that there’s a reason to continue the series from this point forward. Judging from the less than thrilling domestic box office, it appears that most American filmgoers agree. However, the global box office was enough that we might continue to see these showing up at Halloween (although at present there are no concrete plans to do so). If so, I hope they make some changes; I can’t see the next one being any better than this.

REASONS TO GO: The usage of Bell as John Kramer is a nice touch. There is some spectacular gore for those who like that kind of thing.
REASONS TO STAY: The movie felt oddly lifeless and rushed. Watching this movie really requires at least a basic knowledge of the Saw mythology in order to understand it.
FAMILY VALUES: There is violence that is both bloody and gruesome, scenes of torture and plenty of profanity which you’d expect if you were being tortured.
TRIVIAL PURSUIT: Tobin Bell as John Kramer is the only actor and character to appear in all eight Saw films.
BEYOND THE THEATER: Amazon, Fandango Now, Frontier, Google Play, iTunes, Vudu, YouTube
CRITICAL MASS: As of 1/13/18: Rotten Tomatoes: 34% positive reviews. Metacritic: 39/100
COMPARISON SHOPPING: Hostel
FINAL RATING: 6/10
NEXT:
The 101-Year-Old Man Who Skipped Out on His Bill and Disappeared

The Autopsy of Jane Doe


The face of death.

The face of death.

(2016) Horror (IFC Midnight) Emile Hirsch, Brian Cox, Olwen Kelly, Ophelia Lovibond, Michael McElhatton, Parker Sawyers, Jane Perry, Mary Duddy, Mark Phoenix, Sydney, Yves O’Hara. Directed by André Ǿvredal

 

When we die often the most reliable evidence for how we died is our actual bodies. The things scraped from under our fingernails, the DNA inside our mouths, the lesions in the skin and the damage to internal organs all tell a story. That story not only tells the coroner  how we died but also how we lived.

Tommy Tilden (Cox) and his son Austin (Hirsch) run the Tilden mortuary (in the family for generations) in a small Virginia town. They also act as the town’s medical examiners. It’s just been the two men since Tommy’s wife passed on several years ago, but Austin has a pretty girlfriend named Emma (Lovibond) who unbeknownst to Dad has been urging Austin to follow his dreams which don’t include being a medical examiner in a small town. Austin has been trying to find a way to break the news to Tommy when Sheriff Sheldon (McElhatton) brings in a body that he needs autopsied right away, even though it’s well past business hours.

Jane Doe (Kelly) was discovered buried in the basement of a home where a brutal mass murder took place. What she was doing there is a mystery as is what relation she might have had to the killings; the Sheriff needs answers and is relying on Tommy to give them to him quickly. Tommy agrees to stay and even though Austin and Emma were about to leave on a date, Austin blows her off to help Dad out, not wanting him to be left holding the bag on what looks to be a rough autopsy.

For one thing, the body appears to be pristine – no evidence of external wounds or even a clue as to what the cause of death might be. Once the two open up the body though some unsettling facts begin to come to life; the victim’s tongue was severed, for one thing. Her lungs are black as if she had inhaled smoke. Also her wrists and ankles are broken even though there’s no external bruising.

As they perform the autopsy a bad storm hits town but now some odd things are happening. The radio changes stations on its own. The doors to the storage units for the bodies in the morgue open on their own. And there’s evidence that the dead may be walking around again and no Sheriff Andy to save the day. When things at last get to be too creepy, Tommy decides to get out (which Austin had been urging him to do for some time) but it’s far too late now. They are trapped inside the morgue with a supernatural entity who may have a bone or two to pick with them.

Ǿvredal is the Norwegian director best known for The Troll Hunter, a very different kind of horror film. This one has less of a sense of humor than his last movie and is his first English language film. It’s a whiz bang effort that relies much more on creepy atmosphere rather than over-the-top effects; like that film, there isn’t a ton of character development either.

One of his smarter moves was to cast Emile Hirsch as Austin. Hirsch is an often underrated actor who given some of his performances should at least be in the top echelon of actors but for whatever reason hasn’t gotten that kind of recognition. He plays Austin as a pretty decent guy who wants to do the right thing but has a bit of a backbone problem. Cox is one of the most respected character actors out there with such roles as Hannibal Lecter (he originated the role in Manhunter) and General William Stryker (from X-Men 2). His Tommy Tilden is very proud of his son, a pride that doesn’t allow him to see that his boy is moving down a different path than he. I would have liked to have seen more of the dynamic between them but once the horror action starts basically that element is left behind.

Otherwise, the movie is extremely well-written and creates a mythology that is easy to follow and yet is original. The ending is a bit of a letdown but not much of one; it certainly leaves room for a sequel and I have to admit that there is some appeal in the possibility that this might become a horror movie franchise, although I’ll grant you that to my mind there aren’t a lot of places a franchise can go to with this concept. The concept here – following a corpse through the autopsy process with terrifying results – is a solid one that is unique so far as I know.

The scary stuff starts pretty quickly into the movie but it doesn’t feel rushed. It builds, rather, and it builds fast. Once it gets going even horror veterans are going to find their hearts pounding and their adrenaline rushing through their systems. It’s legitimately scary and those who are sensitive to gore and nudity (the corpse of Jane Doe is naked throughout) are well-advised to consider carefully whether this is the film for them.

There has been a renaissance in horror movies over the past decade or so and Ǿvredal is one of the leading lights of it. We have seen some movies that are sure to be classics of the genre over the past three or four years in particular and this one is likely to be one of them. It’s a great time to be a horror fan and movies like this one are the reason why.

REASONS TO GO: If you love scary movies, this is the one for you. Terrific performances by Cox and Hirsch drive the film.  Ǿvredal creates a terrifying atmosphere that doesn’t relent during the entire film. Ǿvredal doesn’t wait too long to get into the thick of the horror.
REASONS TO STAY: This may be too intense for some.
FAMILY VALUES:  There are some extremely gruesome images, plenty of foul language, graphic nudity and some intense violence.
TRIVIAL PURSUIT:  After seeing The Conjuring, director Ǿvredal told his agent that he wanted to do a horror film for his next project and to find him a good script. This is the one that his agent brought to him and Ǿvredal was immediately taken by it.
CRITICAL MASS: As of 2/6/17: Rotten Tomatoes: 85% positive reviews. Metacritic: 64/100.
COMPARISON SHOPPING: The Witch
FINAL RATING: 9/10
NEXT: Chapter & Verse