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Ranking Every Twist in the ‘Saw’ Franchise!

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If it’s Halloween, it must be Saw! For seven years, Lionsgate made Halloween even more of an event than it already was for horror fans. From 2004 to 2010, a new Saw movie was released at the end of every October. In preparation for Jigsaw (read my review), the eighth film in the franchise, I went back and re-watched all of the Saw films. I was flooded with memories of how excited I used to get when Charlie Clouser’s score (specifically, “Hello Zepp“) used to play over the plot reveals, starting quietly before building up in intensity as the franchise’s signature erratic editing sped up and revealed the big twist. This is why people came out in droves to see these films, and the success of each installment hinged on whether or not its twist(s) was/were effective. With Jigsaw being released this weekend, I thought it would be appropriate to look back on the previous seven Saw films and their twists to see what the new film has to live up to. Which twist was the best? We’ll tell you!

***MAJOR SPOILERS BELOW***


7. Saw V – The Fatal Five Could Have Survived If They Had Worked Together…and Strahm is Framed/Murdered

First, big thanks to the Saw Wiki for naming the central victims in Saw V the Fatal Five. That’s clever. Unfortunately, the twist in Saw V is not. Saw V is the only entry in the film that could be wiped from the face of Earth and, save for the death of Agent Strahm (Gilmore Girls‘ Scott Patterson), it wouldn’t make a difference to the overall continuity of the series. The bulk of the film is devoted to the aforementioned Fatal Five as they traverse through the rooms in one of John Kramer’s (referenced as Jigsaw from here on out) traps. One member of the group is killed in each room, but the film climaxes with the realization that they were meant to work together to move from room to room as opposed to killing one of their own in each room. What hurts this twist is that its so far removed from anything having to do with Jigsaw (they are being tested because they all had a part in covering up an arson that has no relation to anything else) that it holds no emotional weight whatsoever. That’s saying something because the fablous Julie Benz (Buffy the Vampire Slayer, Dexter) is one of the victims. What’s shocking is that Clouser’s score starts playing after that when Strahm, who has spent the entire film running around talking to himself, learns that he has been framed by Detective Hoffman (Costas Mandylor) and is killed. It lacks the “oomph” of the twists from the other films. While by no means the worst film in the series (that honor would go to Saw 3D), Saw V is certainly the most superfluous. This unexciting “twist” perfectly illustrates why.


6. Saw 3D – Dr. Gordon is an Accomplice

What makes the twist in Saw 3D disappointing is that it is telegraphed so early in the film (and had been rumored long before the film’s release). After being absent for the past five films, Dr. Lawrence Gordon (Cary Elwes) reappears in the pre-title sequence of what used to be the final film in the franchise. He then disappears again for the majority of the film before popping up in its closing minutes to show us that he’s been working with Jigsaw ever since he escaped his bathroom prison in the first Saw. It make no sense. I mean, sure, Jigsaw would need the help of a skilled surgeon to assist with many of his traps (the skull behind the guy’s eye in Saw II is given as an example), but why would this man join up with this psychopath? It just doesn’t hold up. At least the series finally rid the world of Hoffman with this twist, but it was still a predictable way to end a franchise that has prided itself on its unpredictability up until that point.


5. Saw IV – Takes Place During Saw III, Hoffman is Jigsaw’s Apprentice and Rigg Could Have Saved Everyone By Doing Nothing

Saw IV is the first film to show the Saw franchise losing its grip on its own story. After all, what do you do with a franchise that just killed its antagonist? Set the sequel in a parallel timeline as the previous film, that’s what! Or at least that’s what Saw IV does anyway. Clues are peppered throughout the film, like a random doctor casually mentioning that Lynn Denlon (Bahar Soomekh, Saw III) just went missing, but it still plays well and manages to be quite the jaw-dropping reveal. The way in which the timeline is revealed (Strahm walking into the room where the climax of Saw III is taking place) is well done too. As if one twist weren’t enough, Saw IV crams in two more, the best of which is introducing Jigsaw’s successor: Detective Mark Hoffman. Rather than stop there, it also reveals that Lt. Daniel Rigg could have saved his comrade Eric Matthews (Donnie Wahlberg, Saw II) if he had just sat at home and not played the game. Saw IV tries to cram so much into its climax that it nearly falls off the rails (and Lyriq Bent is not a compelling protagonist), but 2 of the 3 big reveals work, so that’s something.


4. Saw VI – Easton’s Family Isn’t Who You Think They Are

Like Saw V, the bulk of the story in Saw VI is essentially a standalone affair. What makes it more compelling than that film is that it A) serves a commentary on the healthcare system and B) is actually surprising. Throughout the film, William Easton (Peter Outerbridge), an insurance agent for Umbrella Health (haha), moves through Jigsaw’s various trap rooms, sometimes killing and sometimes saving his co-workers during various trials. During all of this, Tara (Shauna MacDonald) and Brent (Devon Bostick) are watching Easton’s game from their caged-in observation room. We are led to believe that they are Easton’s wife and son. Also watching is a reporter named Pamela (Samantha Lemole), who seemingly has no relation to anyone involved. When “Hello Zepp” begins, Easton makes it to Tara and Brent, who are revealed to actually be the wife and child of Harold Abbott, a man that Easton denied insurance coverage to and basically sentenced to death. Pamela is actually Easton’s sister, who is forced to watch as Brent kills him with some strategically placed needles filled with acid. It’s a great, blood-soaked finale, but Saw VI also squeezes in a smaller twist with the reveal that Hoffman blackmailed Amanda (Shawnee Smith) to kill Lynn Denlon in Saw III. The film ends with Jigsaw’s ex-wife Jill (Betsy Russell) putting Hoffman in the reverse bear trap that Amanda wore in Saw. Hoffman escapes and the film cuts to black. Weirdly enough it’s the storyline involving Easton that proves to be more successful, with Hoffman’s story wearing out its welcome by this point. The fact that we know he survives in the end causes Saw VI to end on more of a whimper, a pity considering the film was such a huge step up from the previous sequels.


3. Saw III – It Was Amanda’s Test the Whole Time and Jeff & Lynn are Married

Saw III has the distinction of being the longest film in the Saw franchise. At 108 minutes, the film is the definition of a bloated sequel, as evidenced by its 10-minute climax (it takes up two YouTube videos, seen below). In all honesty, Saw III could have served as a solid capper to a trilogy, but it made $80 million domestically on a $10 million budget so a sequel was inevitable. Anyway, Saw III follows two seemingly separate stories: 1) Dr. Lynn Denlon is captured by Amanda (revealed to be Jigsaw’s protégé at the end of Saw II) and forced to keep Jigsaw alive while a man completes one of his trials. Strapped to Lynn’s neck is a collar that will destroy her skull if Jigsaw’s heart monitor flatlines. 2) Meanwhile, Jeff (Angus Macfadyen) is forced to face all of the people who failed to send the drunk driver that killed his son to prison. In the film’s final moments, the whole ordeal is revealed to have been Amanda’s test. When Jigsaw was no longer able to make traps (due to his inoperable brain tumor), Amanda started doing them for him, but she made them inescapable. Because of this, the victims never learned anything. They just died. Jigsaw knew this and set up an elaborate game with Lynn and Jeff as a test for Amanda. Unfortunately, she fails when Jeff kills shows up and killers her and Jigsaw. Jeff is also revealed to be Lynn’s husband, but since he kills Jigsaw Lynn’s collar explodes and she dies too. Saw III ends in a bloodbath that is both gruesome and cathartic. It’s overstuffed in the best way possible.


2. Saw II – Amanda is In on It & The Video Feed Was Pre-Recorded

The best sequel has the second-best twist(s) in the franchise! In all honesty, it would probably be the number one spot on this list if one of the twists didn’t completely rip of The Silence of the Lambs. In Saw II, eight victims wake up in a house and are told that there is a poisonous gas flowing through the vents that is slowly poisoning them. There are antidotes hidden throughout the house, but each victim must pass a test before acquiring the antidote. Among the the victims are Amanda Young, back in one of Jigsaw’s traps after relapsing some time after the events of the first film, and Daniel Matthews (Erik Knudsen, Scream 4), son of Detective Eric Matthews. While the victims traverse the house, Eric and his team catch Jigsaw, who tells Eric that he will see his son again in a “safe and secure state” if he agrees to talk with him alone until the two hours are over. During their conversation, TV monitors are showing Eric and his team the video feed from the house where the victims are. If there’s one thing that can be learned from the Saw films it’s that you should always do what Jigsaw tells you. Eric Matthews learns this the hard way, as he beats Jigsaw to a pulp and drives him to the house where his son supposedly is. While that is happening, his team tracks down the source of the video and discover that the video feed of the victims was pre-recorded and the game ended long before they even found Jigsaw. A safe opens in Jigsaw’s safe house and Eric is inside, bound and breathing into an oxygen mask. As if that weren’t enough, Amanda is revealed to have been under the tutelage of Jigsaw and she locks Eric in the same room where Adam and Dr. Gordon were locked in the first Saw! Sequels are supposed to outdo the original, and Saw II‘s way of doing that was adding an extra twist into the mix. Making Amanda an accomplice instead of a victim was a fantastic way to one-up the original. It may not be quite as shocking as the moment when Jigsaw stood up in that bathroom, but it comes damn close.


1. Saw – Jigsaw is the “Corpse” on the Floor

What makes the twist ending of James Wan’s Saw so effective is that no one was expecting it. Because of Saw, everyone walked into the sequels expecting some big twist, which automatically dilutes their impact. The ending of Saw works because it still has that element of surprise. Helping matters is that Saw is more of a mystery film than a torture porn gorefest (Saw II is also admirable for this trait), which means the plot is the focus rather than the violence. The plot of Saw is simple: Adam and Dr. Lawrence Gordon (Leigh Whannell and Cary Elwes, respectively) wake up in a dingy bathroom chained to the wall with a corpse in between them. Adam is instructed to escape the bathroom while Lawrence is instructed to kill Adam by 6pm or else his wife and daughter (Monica Potter and Makenzie Vega, respectively) will be killed. The man holding them hostage is Zep (Michael Emerson), an orderly at the hospital where Lawrence works. We are led to believe that he is Jigsaw. In the twist that defined the franchise, Lawrence cuts off his foot and escapes the bathroom and Zep is revealed to have also been a victim of Jigsaw, being coerced to hold Lawrence’s family hostage and kill them in order to receive the antidote for a slow-acting poison that was injected into his body. The corpse in the middle of the room then stands up and is revealed to be Jigsaw. That’s right! Jigsaw was in the room the whole time! The twist may seem like small potatoes compared to the batshit insanity that would pervade the franchise moving forward, but it earns its place on the top spot simply for being the first one to do it.

What is your favorite twist in the Saw franchise? Let us know in the comments below! And don’t forget to catch up on the Saw films before seeing Jigsaw this weekend! All of them are currently on Netflix and the Blu-Ray set is just $9.99 on Amazon!

A journalist for Bloody Disgusting since 2015, Trace writes film reviews and editorials, as well as co-hosts Bloody Disgusting's Horror Queers podcast, which looks at horror films through a queer lens. He has since become dedicated to amplifying queer voices in the horror community, while also injecting his own personal flair into film discourse. Trace lives in Austin, TX with his husband and their two dogs. Find him on Twitter @TracedThurman

Editorials

‘Immaculate’ – A Companion Watch Guide to the Religious Horror Movie and Its Cinematic Influences

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The Devils - Immaculate companion guide
Pictured: 'The Devils' 1971

The religious horror movie Immaculate, starring Sydney Sweeney and directed by Michael Mohan, wears its horror influences on its sleeves. NEON’s new horror movie is now available on Digital and PVOD, making it easier to catch up with the buzzy title. If you’ve already seen Immaculate, this companion watch guide highlights horror movies to pair with it.

Sweeney stars in Immaculate as Cecilia, a woman of devout faith who is offered a fulfilling new role at an illustrious Italian convent. Cecilia’s warm welcome to the picture-perfect Italian countryside gets derailed soon enough when she discovers she’s become pregnant and realizes the convent harbors disturbing secrets.

From Will Bates’ gothic score to the filming locations and even shot compositions, Immaculate owes a lot to its cinematic influences. Mohan pulls from more than just religious horror, though. While Immaculate pays tribute to the classics, the horror movie surprises for the way it leans so heavily into Italian horror and New French Extremity. Let’s dig into many of the film’s most prominent horror influences with a companion watch guide.

Warning: Immaculate spoilers ahead.


Rosemary’s Baby

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The mother of all pregnancy horror movies introduces Rosemary Woodhouse (Mia Farrow), an eager-to-please housewife who’s supportive of her husband, Guy, and thrilled he landed them a spot in the coveted Bramford apartment building. Guy proposes a romantic evening, which gives way to a hallucinogenic nightmare scenario that leaves Rosemary confused and pregnant. Rosemary’s suspicions and paranoia mount as she’s gaslit by everyone around her, all attempting to distract her from her deeply abnormal pregnancy. While Cecilia follows a similar emotional journey to Rosemary, from the confusion over her baby’s conception to being gaslit by those who claim to have her best interests in mind, Immaculate inverts the iconic final frame of Rosemary’s Baby to great effect.


The Exorcist

Dick Smith makeup The Exorcist

William Friedkin’s horror classic shook audiences to their core upon release in the ’70s, largely for its shocking imagery. A grim battle over faith is waged between demon Pazuzu and priests Damien Karras (Jason Miller) and Lankester Merrin (Max von Sydow). The battleground happens to be a 12-year-old, Regan MacNeil (Linda Blair), whose possessed form commits blasphemy often, including violently masturbating with a crucifix. Yet Friedkin captures the horrifying events with stunning cinematography; the emotional complexity and shot composition lend elegance to a film that counterbalances the horror. That balance between transgressive imagery and artful form permeates Immaculate as well.


Suspiria

Suspiria

Jessica Harper stars as Suzy Bannion, an American newcomer at a prestigious dance academy in Germany who uncovers a supernatural conspiracy amid a series of grisly murders. It’s a dance academy so disciplined in its art form that its students and faculty live their full time, spending nearly every waking hour there, including built-in meals and scheduled bedtimes. Like Suzy Bannion, Cecilia is a novitiate committed to learning her chosen trade, so much so that she travels to a foreign country to continue her training. Also, like Suzy, Cecilia quickly realizes the pristine façade of her new setting belies sinister secrets that mean her harm. 


What Have You Done to Solange?

What Have You Done to Solange

This 1972 Italian horror film follows a college professor who gets embroiled in a bizarre series of murders when his mistress, a student, witnesses one taking place. The professor starts his own investigation to discover what happened to the young woman, Solange. Sex, murder, and religion course through this Giallo’s veins, which features I Spit on Your Grave’s Camille Keaton as Solange. Immaculate director Michael Mohan revealed to The Wrap that he emulated director Massimo Dallamano’s techniques, particularly in a key scene that sees Cecilia alone in a crowded room of male superiors, all interrogating her on her immaculate status.


The Red Queen Kills Seven Times

The Red Queen Kills Seven Times

In this Giallo, two sisters inherit their family’s castle that’s also cursed. When a dark-haired, red-robed woman begins killing people around them, the sisters begin to wonder if the castle’s mysterious curse has resurfaced. Director Emilio Miraglia infuses his Giallo with vibrant style, with the titular Red Queen instantly eye-catching in design. While the killer’s design and use of red no doubt played an influential role in some of Immaculate’s nightmare imagery, its biggest inspiration in Mohan’s film is its score. Immaculate pays tribute to The Red Queen Kills Seven Times through specific music cues.


The Vanishing

The Vanishing

Rex’s life is irrevocably changed when the love of his life is abducted from a rest stop. Three years later, he begins receiving letters from his girlfriend’s abductor. Director George Sluizer infuses his simple premise with bone-chilling dread and psychological terror as the kidnapper toys with Red. It builds to a harrowing finale you won’t forget; and neither did Mohan, who cited The Vanishing as an influence on Immaculate. Likely for its surprise closing moments, but mostly for the way Sluizer filmed from inside a coffin. 


The Other Hell

The Other Hell

This nunsploitation film begins where Immaculate ends: in the catacombs of a convent that leads to an underground laboratory. The Other Hell sees a priest investigating the seemingly paranormal activity surrounding the convent as possessed nuns get violent toward others. But is this a case of the Devil or simply nuns run amok? Immaculate opts to ground its horrors in reality, where The Other Hell leans into the supernatural, but the surprise lab setting beneath the holy grounds evokes the same sense of blasphemous shock. 


Inside

Inside 2007

During Immaculate‘s freakout climax, Cecilia sets the underground lab on fire with Father Sal Tedeschi (Álvaro Morte) locked inside. He manages to escape, though badly burned, and chases Cecilia through the catacombs. When Father Tedeschi catches Cecilia, he attempts to cut her baby out of her womb, and the stark imagery instantly calls Alexandre Bustillo and Julien Maury’s seminal French horror movie to mind. Like Tedeschi, Inside’s La Femme (Béatrice Dalle) will stop at nothing to get the baby, badly burned and all. 


Burial Ground

Burial Ground creepy kid

At first glance, this Italian zombie movie bears little resemblance to Immaculate. The plot sees an eclectic group forced to band together against a wave of undead, offering no shortage of zombie gore and wild character quirks. What connects them is the setting; both employed the Villa Parisi as a filming location. The Villa Parisi happens to be a prominent filming spot for Italian horror; also pair the new horror movie with Mario Bava’s A Bay of Blood or Blood for Dracula for additional boundary-pushing horror titles shot at the Villa Parisi.


The Devils

The Devils 1971 religious horror

The Devils was always intended to be incendiary. Horror, at its most depraved and sadistic, tends to make casual viewers uncomfortable. Ken Russell’s 1971 epic takes it to a whole new squeamish level with its nightmarish visuals steeped in some historical accuracy. There are the horror classics, like The Exorcist, and there are definitive transgressive horror cult classics. The Devils falls squarely in the latter, and Russell’s fearlessness in exploring taboos and wielding unholy imagery inspired Mohan’s approach to the escalating horror in Immaculate

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