It’s a bit like Blair Witch, in that it’s a little indie film a larger distributor picked up and after test screenings, realized they had something that would break into the mainstream. Wan and Whannell (do his films Upgrade and the Invisible Man share your disdain?) made a truly independent short film as a proof of concept, then got a 1 million budget, which is a bit low even by DTV standards, before Lionsgate caught wind. When you watch it through the lens of a DTV production timeline, its a fairly clever approach to seem larger and grander in scale than its budget should’ve allowed. It’s certainly Wan as his stylistic roughest but I feel he even uses that to his advantage, making everything rough, ugly and abrasive.
I admire anything that can shift the culture one way or another. I don’t think it’s responsible for its imitators any more than Jaws deserves criticism for Tentacles, but it’s similar ability to touch on SOMETHING in the public id with virtually nothing but determination is pretty cool.
I admire anything that can shift the culture one way or another. I don’t think it’s responsible for its imitators any more than Jaws deserves criticism for Tentacles, but it’s similar ability to touch on SOMETHING in the public id with virtually nothing but determination is pretty cool.
I don't see how the roughness of Wans style here can be forgiven just because the films subject matter is also ugly. His busy editing and vulgar attempts at technical skill never let us live in the movies ugliness. It skips across it's surface, just makes us voyeurs of it. The reason why so many actual Grindhouse films can get away with this kind of ugliness is they are actually born from these places they depict. And we as viewers get a sense we are a part of what is being depicted. What Wan is doing here, as he always does, is slumming. It's the horror version of Beasts of the Southern Wild. There is something vaguely insulting about how it portrays its grime. Like someone who goes to a stylist to muss up their hair intentionally, or buys jeans that already have holes in the knees. This is faux-distressed filmmaking. But unlike a Conjuring, which actually has some good scenes in it born from his technical skill, or Malignant, which at least dares to be ridiculous regardless of the risk it would have posed to his box office return, Saw has no such saving graces.
Do I blame Saw for the shit it spawned. No. But unlike directors who spawned bad imitations of their style (Kenneth Anger, Tarantino), the source material here and its bad clones are all awful.
Do I think it's good a no budget production managed to break into the mainstream. Sure. But that doesn't forgive how bad it all is. Or make me see the actual film in any better of a light
Last edited by crumbsroom; 06-02-23 at 07:04 PM.