James Wan's debut film - and first of many collaborations with writer/supporting actor Leigh Whannell - is an expertly assembled horror puzzle that has a compelling mystery, creative traps, and excellent editing.
Charlie Clouser's masterfully varied soundscape ranges from dark and grungy to creepy and atmospheric, before he unleashes one of cinema's most iconic compositions right at the end.
The story lures you down an intricately designed path then stings you with one of the all-time great movie twists, culminating with a montage that's just as memorable as the music that fuels it. The door slam and "GAME OVER" followed by those agonising screams going into the credits is such a satisfying conclusion I won't soon forget.
'Saw' is brutal, but in a way it's the suggestion of violence and off-screen mutilation that makes it seem worse than it is, closely following in David Fincher's 'Seven' in that regard, because it's not nearly as gory as it's reputation would suggest - it's the tone that lends the movie its power. Even so, the traps are original and the focus on a ticking clock builds tension and sustains it nicely.
Overall, 'Saw' proves that time has not diluted its edge. James Wan shows some real skill for an upcoming filmmaker with many great shot choices, whilst Leigh Whannell demonstrates his talent for storytelling with a cleverly constructed mystery that has exhilarating and chilling payoffs. Definitely top tier horror that remains a favourite.
9/10.
Charlie Clouser's masterfully varied soundscape ranges from dark and grungy to creepy and atmospheric, before he unleashes one of cinema's most iconic compositions right at the end.
The story lures you down an intricately designed path then stings you with one of the all-time great movie twists, culminating with a montage that's just as memorable as the music that fuels it. The door slam and "GAME OVER" followed by those agonising screams going into the credits is such a satisfying conclusion I won't soon forget.
'Saw' is brutal, but in a way it's the suggestion of violence and off-screen mutilation that makes it seem worse than it is, closely following in David Fincher's 'Seven' in that regard, because it's not nearly as gory as it's reputation would suggest - it's the tone that lends the movie its power. Even so, the traps are original and the focus on a ticking clock builds tension and sustains it nicely.
Overall, 'Saw' proves that time has not diluted its edge. James Wan shows some real skill for an upcoming filmmaker with many great shot choices, whilst Leigh Whannell demonstrates his talent for storytelling with a cleverly constructed mystery that has exhilarating and chilling payoffs. Definitely top tier horror that remains a favourite.
9/10.