Director: Darren Lynn Bousman
Cast: Donnie Wahlberg, Franky G, Glenn Plummer, Beverley Mitchell, Dina Meyer, Emmanuelle Vaugier, Erik Knudsen, Shawnee Smith, Tobin Bell
Screenplay: Leigh Whannell, Darren Lynn Bousman
93 mins. Rated R.
Saw was a horror phenomenon when it released in 2004. It surprised the hell out of me, as I didn’t expect to love it so much, to be rewatching it so regularly, trying to scope out clues and things I had missed before. It wasn’t for everyone, especially those unable to handle gore (even though the first actually didn’t contain as much as the franchise would be known for later on), but for me, there was another element that kept me entranced, and that was the story. I loved the mystery of the film, the clues, the references. I studied that film, and when the sequel came out, it didn’t arrive at my local theater and I was too young to drive to another town to see it, so I waited until the inevitable January DVD release, and I caught it. Now, looking back, let’s see how the first sequel to Saw holds up, and its influence on the direction of the series.
Eric Matthews (Donnie Wahlberg, Ransom, Dreamcatcher) is a bad cop and a worse father. His life isn’t what he thought it was, and now he’s become the target of the villainous Jigsaw (Tobin Bell, Mississippi Burning, The Firm), a killer who likes to play games, set traps, and let his victims kill themselves in their struggle to survive. Eric and his former partner Kerry (Dina Meyer, Starship Troopers, Johnny Mnemonic) have discovered Jigsaw’s hideout, but they soon learn that catching Jigsaw will be tougher than they expected when Eric learns that his son Daniel (Erik Knudsen, Scott Pilgrim vs. The World, Scream 4) is also a part of Jigsaw’s next game. Now, Eric and Daniel are both playing for survival, and Jigsaw has a few surprises in store for both of them.
Saw II actually started as a completely different movie. Writer/director Darren Lynn Bousman (Repo! The Genetic Opera, Abattoir) had shopped around his script for a film called The Desperate and kept getting turned down, with most telling him that his movie was too similar to Saw. Eventually, the script found its way into the hands of Saw producers, who were looking to get a follow-up to the 2004 smash hit put together. Leigh Whannell, who scripted the original film, came in and adjusted the script into a Saw sequel, and the rest is horror history. In that way, Saw II is a bit of a unique flavor of the Saw films. It has most of Bousman’s writing stamps on it, and it has a look more in line with Bousman’s non-Saw films while still not straying away from the feel of the original. The screenplay, now adjusted to being a Saw sequel, is full of more of those clues and references to the connection with the original, and the way it ends up connecting is bonkers good. In fact, not even the cast was aware of the film’s ending and how it would play into the first film. Although, there are a few times when Jigsaw flat out lies to Eric, something he isn’t known for doing (he stretches the truth and leaves information out, but he never full-on lies to his victims and pawns), and that disappointed me a little.
Donnie Wahlberg is a standout here. His scenes with Tobin Bell as Jigsaw are amazing. The two have such different energies on display, and watching them collide is exhilarating while also highlighting their differences as characters and gives a lot of development to both. Remember, this film does a lot more heavy lifting of the Jigsaw mythos than the first film, in which [SPOILER ALERT!] Jigsaw spends most of the film lying in a bathroom covered in makeup and fake blood. Jigsaw gets to really flex his creed here and the reaction he gets from Eric works so well. Wahlberg’s work as Eric only highlights his own shortcomings as a cop, husband, and father.
Shawnee Smith (The Blob, Believe) also returns from the first film as Amanda, a character with limited but impactful screen time in the original (in fact, her scenes in the original were basically what the short film that inspired Saw were all about). Seeing her as someone who has survived Jigsaw’s game only to find herself back in it is horrifying, and we feel for her, but we also find a level of trust in her as she understands the game better than the others, and we cling to her for support. She also ends up in a fairly uncomfortable trap fighting for survival with the needle pit.
I also want to discuss the house trap, as it’s where most of the action of the film is. It’s a cool house with a lot of history and character to it, and seeing all these people trapped inside with slow-acting poison, looking for antidotes, it creates a larger set piece than the bathroom but doesn’t feel like it betrays the first film. It just has its own flavor, much like the rest of Saw II, probably carried over from Bousman’s earlier script. What I love about the way Bousman directs is that he tries to create a sense that the story never slows down by creating in-camera tricks in filming and editing that make scenes flow from one to the another without actually cutting. Look at the way Eric leaves his apartment early on and ends up at a crime scene. It’s a fascinating shot that emphasizes the best of Bousman’s ability to work low-budget and still create interesting and compelling cinema.
Saw II is still a step down from the first film, but it continues the story, elevates the characters, and develops the world-building of this franchise quite nicely while feeling like its own contained story. Yes, there are a few screenplay faults, there are more unlikable characters than likable ones, and the film maybe feels a bit too big at times, not allowing us to spend time with the cattle on their way to slaughter, but at least it highlights its most interesting characters like Jigsaw, Eric, Kerry, and Amanda, the ones who are developed enough to interest. I enjoyed the film immensely when I first saw it, and I still do, even if I’ve seen some of its faults on repeat viewings. I would still encourage fans of the original to see this one, and those who haven’t seen it in a while to consider revisiting it.
-Kyle A. Goethe
- For my review of James Wan’s Saw, click here.
- For my review of Darren Lynn Bousman’s Repo! The Genetic Opera, click here.
- For my review of Darren Lynn Bousman’s The Devil’s Carnival, click here.
- For my review of the anthology film Tales of Halloween, click here.
- For my review of Darren Lynn Bousman’s Alleluia! The Devil’s Carnival, click here.