Once in awhile all the kiddies in my neighborhood will start talking about a certain horror film that’s just been released in many of the main theaters around my area. I remember when The Blair Witch Project came out around Halloween ’99 and the theaters were all packed at the midnight showing.  There have been others and the most recent to come along might be Eli Roth’s Hostel. They all might not be superb films but they still have left an impact with today’s audiences. It seems quality these days is sometimes compromised with an over emphasis on recapturing the glory days of horror of both American and international styles. T he gore is getting sick like 70’s exploitation films (Last House on the Left, I Spit on your Grave, Cannibal Holocaust) and the film real nearly mimics the look and feel of such films as The Texas Chain Saw Massacre and Mario Bava’s Bay of Blood.  Going back to our roots is all fine and dandy, but it seems that many filmmakers are forgetting about some of the classics films, classic characters, and amazing performances of American horror past. In Saw III, you aren’t going to find a performance like Ellen Burstyn in The Exorcist. You won’t find your Jack Nicholson in The Shinning (the critics didn’t like you Jack, but WE loved you!), and for some, this is fine.  Audiences know ahead of time that they aren’t going to sit through any of the Saw films and expect an amazing script with breakthrough talents in front of the camera...but why should we expect this?  I can’t remember the last film (possibly The Exorcism of Emily Rose) that tried to horrify us and supply all the necessities to make an outstanding film.  Why do we have to sit through the same underdeveloped characters, the same half ass script, and B movie acting?  Why do horror fans sit through films like Saw III??? 

Now, don’t get me wrong.  The first two Saw films are brilliantly constructed. Together they are Seven and The Bone Collector’s grizzly retarded cousins.   A more distant relation perhaps. Well, add Saw III to the mix! It’s really no different.  Its many shortcomings are still obvious.  Bahar Soomekh, who plays the beautiful Dr. Lynn, gives a very uneven performance along with Shawnee Smith who yet again plays Amanda, Jigsaw’s new partner in crime.  The first 20 minutes of the film are a little rough around the edges and it all will start to feel more like a long intro to the film than actual plot development to a twisting story. Don’t hang your head too soon, though. Jigsaw's intent with his new victims might be a little confusing at first, but not to worry. Very soon, it will all click into place and audiences alike will once again feel right at home with Saw III.  Good thing too...I was starting to get scared!

Once Saw III gets rolling, you’re left with what the series is best known for...and much much more!  The gore is sick and very well done throughout the entire film. It’s well balanced (maybe a little overkill during John’s surgery), and most importantly, very affective.  I haven’t seen such good direction from this caliber of brutality in a very long time.  Darren Lynn Bousman does an amazing job and his skills as a director have increased since his involvement in the trilogies second installment.  His talent especially shines during Saw III’s more elaborate scenes involving Angus Macfadyen (Jeff) trying to free Jigsaw's victims from unusual traps or violent devices.  There is so much going on in these scenes that it would be easy for an unnoticeable eye to exclude certain shots that are necessary for us to keep up with such frantic surroundings. The camera doesn’t jump around too much and Bousman rarely goes for style points.  I’m very pleased that he attached himself to these films again.

The story here is down and out brilliant.  Saw III not only carries brand new complexities, but it also ties in the other two films superbly.   I’m not one to give even a hint of any film's plot away so let me just tell you this.  I’ve been a horror fanatic all my life, and I have seen nearly 1000 horror films (my netflix rating guide proves this!).  So, I can say that I have never seen anything that has come close to the epic brilliance that this trilogy has achieved.  It’s hard for me to admit this also. Whenever I think about any of the Saw films I want to scream in frustration. The films crave recasting and under no circumstances should a pretty face ever be compromised for another actor or actresses talent.   What if we had a younger Ellen Burstyn play Amanda’s role? What if Morgan Freeman and Brad Pitt jumped into the cast along with Jack Nicholson as the decaying MURDERER known as Jigsaw?  Now, I’m just trying to make a point here, and I know they could never get these actors for these films.  I just wish the Saw trilogy didn’t fall short the way sooo many other horror films fall short these days.  Good ideas and wonderful directors are still out there, but as far as production and talent in front of the camera goes - forget it. It’s all something I’ve come to expect these days in the horror industry.  There are exceptions, (thank you Emily Rose) but with Saw III, we’re still stuck with the same misshapes as the last two installments.  Sad...and barely forgivable.

In Saw III, we get to know these characters to their fullest extents and as always, their involvement in the story runs deeper than expected. They could end the series here and I could easily say that it’s the best trilogy since The Evil Dead. There is some talk about a Saw 4 out there, but nothing is anywhere close to being set in stone. Be prepared to gather a much deeper appreciation for this series, even if you don’t think Saw III measures up to its other two installments.

I recommend this film ONLY if you have seen the other two Saw films because it’s the only way you’ll appreciate it to it’s full extent.  I recommend it to gorehounds everywhere.  I recommend it to people who aren’t fans of the first two, but are still generally into American, as well as international, horror.  Now, let’s see some filmmakers raise the bar even higher - not with gore - but with inspired talent and wild imaginations.  Horror isn’t a game and it’s not a competition to see who can gross out the most audience members.  It’s an art, and until filmmakers realize what made The Exorcist and The Shinning work on all necessary levels...it’s game over.