Jigsaw – A Film Review
The early 2000’s was a notable period for the horror genre, but only notable due to rapid decrease in the new age teen slasher popularity that flooded the theaters like tsunamis in the late 90’s. Films like “Scream” and “I know what you did last summer” had given new life to the horror industry, but over-saturation and a barage of lackluster sequels quickly saw the audiences looking, searching, waiting for the next level of fear to present itself. In 2004, Writer/Director James Wan, as well as Writer/Star Leigh Whannell chose to think “inside the box” and gave the world “Saw”, the story of strangers, bound by reason and forced to play the ultimate game of survival. This was, for all intents and purposes, a groundbreaking film that would captivate the audience, and then like so many of it’s predecessors, succumb to the wrath of tired and jaded sequels that forced audiences and critics alike to throw their hands in the air and sneer away. Another one bites the dust.
Most recently, in 2017, Co-Directors the Spierig Brothers took a shot in the dark, and produced the much anticipated sequel in this franchise’s history, “Jigsaw”. Following in the wake of the last addition, “Saw 3D: The Final Chapter”, which failed to impress even the loosest of critics, the die hard fans of the franchise had hoped that seven years between sequels would have been more than enough time to construct a strong enough concept to be deemed worthy of it’s title. To this day, those hopes remain unfulfilled.
This film failed to impress, shock, or surprise at every available turn. To be frank, after seven years, it’s walking the very thin line between having lost all grip on what the franchise represents, and simply not caring whether or not your viewers like the fucking movie.
As the main plot for this film, the concept was rehashed, rewashed, recycled, and just plain embarrassing. Pete Goldfinger and Josh Stolberg are the two “Writers” responsible for this slap in the face. This story doesn’t deserve an elegant approach in review, it was garbage. The characters had no depth, instead of having two or three respective characters let’s have seven or eight washouts, three of which are nothing more than plot devices to show more crappy, gimmicky, machine deaths, because quantity is ALWAYS better than quality in the horror world*sarcastic eye roll*… Idiots..Go home!
Now the kills, or what we were meant to consider kills. In the early days, Wan and Whannell gave us kills that appeared to be designed by architects and engineers, and now we’re left to scoff at creations that look thrown together by infants who struggle with Mega-Bloks.
Performance-wise there was not one redeeming member to the cast, every performance was bland, forced, and hokey enough to part of a teen mock comedy. The only reason that each individual actor is not being singled out and shamed publicly is because at the end of the day they’re paid actors who need to eat, work, and live like anyone else. It’s understood, it’s horseshit, but it’s understood. If a bad director wants to pay good money for a bad performance, then take the money and run.
Honestly, nothing positive can be said about this ninety-two minute hairball, so if you decide to suck it up then best be prepared to gag.
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