Saw (October 22/05)

As far as recent horror flicks go, Saw surely remains one of the best efforts of the genre to emerge over the past few years (then again, its competition has been dreck like House of Wax and The Skeleton Key). Director James Wan and screenwriter Leigh Whannell start with a simply amazing premise - two men wake up chained to a wall in a decrepit bathroom, where a dead body lies rotting in the middle - and pack in enough twists and turns (and thoroughly impressive moments of cruelty) to keep even the most jaded horror buff engaged.

Much of the film transpires in flashback, as the aforementioned men - Lawrence (Cary Elwes) and Adam (Whannell) - attempt to figure a way out of their situation by recalling recent events in their own lives. We learn that a pair of detectives (played by Danny Glover and Ken Leung) have been working a case involving increasingly baffling deaths, and that the media has nicknamed the killer "Jigsaw." We also meet Lawrence's wife (Monica Potter) and daughter (Makenzie Vega), both of whom Jigsaw is threatening to murder if Lawrence doesn't kill Adam by a pre-determined time.

Whannell's disjointed screenplay occasionally threatens to become overwhelmingly baffling - particularly once the flashbacks within flashbacks start to kick in - but it's clear almost immediately that Saw's been designed to keep viewers guessing right up until the conclusion. The film's look effectively mirrors the obfuscatory vibe, as Wan places the emphasis on off-kilter, thoroughly menacing visuals. Along with cinematographer David Armstrong and editor Kevin Greutert, Wan imbues Saw with a palpable sense of grittiness (the result is a film that comes off as a bizarre cross between Fincher's Se7en and a Nine Inch Nails video).

The eclectic cast does a nice job of bringing these disparate characters to life, and though Elwes has received a lot of criticism for his work here, the actor delivers a surprisingly effective performance that feels believable and appropriate (especially when you consider the increasing volatility of Lawrence's situation). Of course, one can't talk about Saw without mentioning Jigsaw - a sinister, creepy figure who certainly has what it takes to join the ranks of Freddy Kruger and Pinhead as an iconic screen villain (this is despite the fact that we don't learn his identity or motives until the movie's over). And then there's the shocking yet deeply satisfying resolution, which - coupled with Charlie Clouser's note-perfect score - chillingly wraps up the various loose ends (and, not surprisingly, leaves the door open for a sequel).

Saw is that rare horror flick that actually improves upon repeat viewings, and it seems fairly obvious that the film will continue to endure in the years to come (here's hoping that the upcoming sequel keeps the momentum going).