Kicking off in 2004, the horror franchise has long descended into repetition and laxity, but everyone brings their A game this time, especially star Tobin Bell.
Decent health care and a modicum of compassion: Isn’t that what any trap-devising torture master wants? So it seems in “Saw X,” a movie that has more funbeing a “Saw” sequel before becoming a better-than-passable one. As we dive in, gaunt John “Jigsaw” Kramer winces through his brain cancer scans.
“That was a long one,” he tells the technician. Unfortunately, Kramer’s case is terminal. And as he smirks through the bromides of his support group and gets his last will and testament in order, you can almost believe — barring one eyeball-sucking dream sequence — that Bell has stumbled into a different franchise altogether.
This somber cello-scored intro becomes a passage, then an entire first act, and it’s impossible not to smile at how veteran “Saw” editor-turned-director Kevin Greutert commits to the long game. As it happens, Kramer hears about an experimental treatment: a cocktail-surgery combo unapproved by the FDA. Though weak, he flies to a secret clinic in Mexico City, where a saintly team of doctors and helpers eases him back toward hope.
But there remains something trashy and fun about the “Saw” entries, even in their bad-TV police procedural stretches and ponderous obeisance to David Fincher’s “Seven,” the granddaddy of faux-moralistic violence. “Saw X” doesn’t have the drooling-dog irony of the series’ best kills: no pit of dirty hypodermic needles for a drug dealer, sadly . One unlucky victim goes rooting around his own skull for grey matter, which is as close as this movie gets to an indictment of the medical profession.
Still, that creepy puppet with the bow tie does wheel into view like an old buddy with bad news. So does Amanda , survivor of the iconic “reverse bear trap” from the first film and now Kramer’s assistant. The supporting players aren’t quite pulling off the screams — cutting off one’s own leg shouldn’t seem this achievable — but Bell compensates. His half-cracked grandeur, boosted by Smith’s skewed stares of adoration, sends the movie into a loopy giddiness.
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