‘Saw X’ Review: Tobin Bell Dominates a Torture-Porn Sequel That Comes Closer to Being a Real Movie. That Might Be a Good Thing (or Not)

The “Saw” film series has long been a polarizing fixture in the horror genre. Often labeled as “torture porn,” these movies have consistently delivered gruesome and morally charged narratives that have left audiences both fascinated and horrified. Now, with “Saw X,” the tenth installment in the franchise, there’s a refreshing departure from the formulaic approach that might leave fans divided but opens up new possibilities for the series.

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Since its inception, the “Saw” films have been characterized by their macabre exploration of morality. Each installment revolves around a set of victims, strapped into intricate, diabolical contraptions that demand life-or-death decisions due to perceived sins they committed in the real world. While this heavy-handed concept of sin may come off as somewhat clichéd, it serves a purpose in the context of these films, crafting a world where moral ambiguity reigns supreme.

At the core of the “Saw” series is John Kramer, portrayed by the venerable Tobin Bell. Commonly known as Jigsaw, he’s the high priest of sick violence, but his unique angle on the horrors he inflicts is what sets him apart. Jigsaw doesn’t see himself as a killer; he sees himself as a provider of choices. Victims must make impossible decisions, like whether to endure excruciating pain or face certain death. It’s a reflection of what the audience goes through while watching a “Saw” film—vicarious torment by choice. We willingly subject ourselves to this sadistic spectacle, becoming, in essence, our own torturers. The “Saw” franchise thus raises the unsettling question: Are we the true torture-porn addicts?

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The previous entry, “Spiral” (2021), was seen as a creative and financial low point for the series, with a domestic box office gross far below its predecessors. Recognizing the need for reinvention, the creators of the franchise embarked on a mission to breathe new life into the aging behemoth. Their solution: “Saw X,” which, in theory, aims to bring the series closer to the realm of a genuine movie.

This transformation could be seen as either a blessing or a curse, depending on your perspective. On one hand, it lends a sense of organic unity to the plot and locale. On the other, it risks diluting the core appeal of the “Saw” films—elaborate, horrifying traps that test characters’ limits.

Tobin Bell, now 81, gives a career-defining performance as John Kramer in “Saw X.” Kramer, who is battling terminal brain cancer, takes center stage in this installment. Bell’s portrayal is a mesmerizing blend of Clint Eastwood’s steely resolve and Father Merrin’s solemnity from “The Exorcist.” Kramer is akin to a grizzled sheriff set on exorcising your inner demons, making you suffer only to liberate your soul.

The premise of “Saw X” unfolds as Kramer, facing mere months to live, stumbles upon a glimmer of hope in the form of a Norwegian physician in Mexico. The treatment offered involves surgery and an experimental drug cocktail, shrouded in secrecy to evade the clutches of big pharma, fearing the erosion of chemotherapy profits. With the prospect of a cure tantalizingly close, the film appears poised for a revenge-fueled narrative, where Kramer takes on the pharmaceutical giants for their perceived sins. It’s a concept that might have been even more captivating than what unfolds.

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But here’s where “Saw X” takes an unexpected turn, which we must issue a spoiler alert for. The miracle cure turns out to be a sham, and Kramer’s cancer remains untamed. His reaction? Not a rampage against the corrupt pharmaceutical industry but a decision to teach lessons by offering a handful of individuals the choices they supposedly deserve. These choices are nothing short of nightmarish—like a victim choosing between sawing through their own leg or facing a razor wire around their neck.

The majority of these victims happen to be the assistants of Cecilia, the leader of the supposed miracle healers in Mexico. The film tightens its focus as three of the four victims find themselves confined to a single torture warehouse. Kramer, alongside Amanda (Shawnee Smith), his pain administration apprentice who has been a constant presence in the “Saw” series, oversees it all from a second-floor office. This setting propels “Saw X” into the realm of pressure-cooker kidnap thrillers.

However, this evolution of the franchise comes with a caveat. Unlike its predecessors, “Saw X” leans more on dialogue and character development, reducing the prominence of the elaborate torture set pieces that fans have come to expect. While this shift may resonate with some viewers, it remains uncertain whether it will pay off at the box office, given that the visceral horrors were a significant draw for the franchise.

Tobin Bell’s performance remains a strong selling point, but “Saw X” raises the question of how much character development and moral contemplation can be balanced with the series’ trademark graphic violence—a matter of contention among dedicated “Saw” fans.

In conclusion, “Saw X” marks a daring departure from the established “Saw” formula, injecting a sense of authenticity into the narrative while challenging the franchise’s core conventions. It offers a profound exploration of moral choices while grappling with the boundaries of what the audience can endure. Whether this evolution proves successful remains to be seen, but one thing is certain: Tobin Bell’s commanding presence as John Kramer ensures that “Saw X” is a gripping chapter in the ongoing saga of the Jigsaw killer, promising to provoke thought and terror in equal measure.