![]() ![]() ![]() Like many of the other Saw films, Spiral starts with an excruciating death. The roots of the Saw empire are more an ultraviolent version of Thornton Wilder’s classic play Our Town than they are random killings.īut Spiral is a watered-down version of the core elements that make a Saw movie into a Saw movie. In Jigsaw’s eyes, drug addicts and corrupt cops deserved punishment, but his plans always included some thin veneer of redemption and education, however impossible or painful those lessons might be. Initially, Jigsaw’s targets were people who had either given up on appreciating the gift of life, or powerful but crooked people who’d lost interest in maintaining fairness and justice. In those chapters, he oversaw the death of Jigsaw, the rise of his co-conspirators, and the height of the torturous Rube Goldberg contraptions that made the Saw series infamous for its complicated, overplanned methods of killing people Jigsaw deemed no longer worthy of life. Spiral is directed by Darren Lynn Bousman, who also directed Saw II through Saw IV. It doesn’t share any of its characters, motives, or histories with the franchise, and that inconsistency leaves a gaping hole in Spiral that isn’t filled in with anything proportionately interesting. While Spiral takes place long after Jigsaw’s death, in the same city where he did his killing, the connections to the throughline end there. Spiral is the ninth film in its series, but as the subtitle From the Book of Saw indicates, this edition isn’t part of the long continuity of stories about the serial killer Jigsaw - it just takes place in his universe. Much like the twisting spirals that serve as one of the Saw series’ most recognizable motifs, the franchise is slowly moving away from its core. ![]()
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