7 horror movies that execute Saw’s tropes better than the Saw franchise
Spiral: From the Book of Saw is now offered for inexpensive digital leasing and in different home-video formats, so any Saw fans who may have missed this mix reboot (with Chris Rock and Samuel L. Jackson) and tradition follow up (with Saw II-IV director Darren Lynn Bousman) in its May theatrical run can now be cost effectively dissatisfied from the convenience of their own house. (Spiral’s very first digital leasing window opened in June, however it was at first premium-priced as a synchronised theatrical release.)
Though some fans might delight in the effort to restore the vast, complex Saw franchise, or a minimum of may like Chris Rock’s early-movie tight 5 on divorce and Forrest Gump, Spiral doesn’t reach the heights of fan favorites Saw III or Saw VI. As the filmmakers firmly insisted, it isn’t precisely Saw IX, however it isn’t precisely a brand-new kind of scary trap, either. Thankfully, anybody in the market for Not Rather a Saw Film has lots of other choices offered — beginning with the current Escape Space: Competition of Champions, which sequelizes the initial 2019 Escape Space by making the facility play much more like Saw Junior.
There are an awful lot of Saw imitators on the market, taking advantage of that first film’s low-budget, grimy aesthetic and elaborate deathtraps. Not all of these Sawalikes are as conceptually close to the original as the Escape Room sequel, but they all offer more interesting variations on the series’ familiar tropes than Spiral, and together, they reveal that doing Saw better than Saw has become a cottage industry over the years. Hell, the Fast & Furious films could be considered a form of Saw spinoff, given how they’ve paralleled the series’ wonderfully wonky, ever-expanding later-period continuity. That said, horror and horror-adjacent movies tend to offer the closest approximation of the Saw experience. Here are seven solid movies that play the Saw game more successfully than Spiral:
The Escape Room series
Sony clearly has its eye on a long-running B-movie saga with this PG-13 version of the house-of-traps subgenre. The first movie sets up a sequel, and the new sequel, like both the Saw series and its Sony stablemate Resident Evil, immediately follows through on some of the setup, while deferring other developments to as-yet-unmade future installments. It’s essentially Saw without the grimy self-help angle, though some horror fans will doubtless find these virtually gore-free alternatives overly sanitized. But it’s fun to see what Jigsaw might have worked up if he had a larger operating budget, and the characters, led by Taylor Russell’s Zoey, convey human emotion more convincingly than most of the actors in Saw, whose house style involves a lot of sweaty screaming. The first one is more novel. Tournament of Champions has pretty typical sequel problems, in that it’s more of the same without enough new wrinkles. They’re both briskly entertaining.
Escape Room is offered to rent on Amazon, Vudu, and other platforms. Escape Room: Tournament of Champions is in theaters.
A new horror-tinged thriller starring Megan Fox premiered on VOD and a few theaters in July with little fanfare, which is too bad, because after an unpromising start where Till Death comes across as a somnolent marital drama, it kicks into gear: Fox’s character winds up in a remote cabin, handcuffed to a dead body, with bad men after her. The limited location, occasional gore, and messages left for her from a vengeful ex-husband all have Saw vibes, even as the movie is ultimately a bit more cat-and-mouse hunt than endurance test. It’s also tightly directed by relative newcomer S.K. Dale, and while Fox may not be up for a depressing relationship wallow, she’s aces at the over-it dark comedy of dragging a corpse around as she evades merciless pursuers. Like the Escape Room series, Till Death feels like it’s modifying elements of the Saw cycle without wholesale ripping them off. It also benefits from a metaphorical simplicity — a relationship as a near-impossible burden — that would be unthinkable in the tangles of delightful but baffling Saw continuity.
Till Death is available for rental on Amazon, Vudu, and other platforms.
Spiral wasn’t the only 2021 project to sorta-reboot a gory early-’00s horror movie that unexpectedly became a low-budget series, though the Wrong Turn franchise was confined to DVD, and never reached the heights of the Saw saga. This is a blessing for the current Wrong Turn remake; unbeholden to any particular iconography from the initial 2003 film, it’s free to riff on the basic young-people-menaced-by-country-folk facility (itself a ripoff of countless other horror movies) with an ingenuity that Spiral sorely lacks. Case in point: 2021’s Wrong Turn mixes in bits of Saw’s fellow class-of-2004 horror movie, M. Night Shyamalan’s The Village, in replacing the usual cartoon-villain hillbillies with a secret, insular society accidentally invaded by weary travelers. Plus, there are traps — less elaborate than what Jigsaw or his protégés put together, but still pretty gnarly.
Wrong Turn is streaming on Showtime and available for rental on Amazon, Vudu, and other platforms.
The Saw movies often attempt (and sometimes fail) to offer trenchant social commentary through Jigsaw’s supposedly thought-provoking ironic moral quandaries. The Platform doesn’t have a Jigsaw figure to moralize about humanity; its whole system is an indictment of ours. A man wakes up stuck in a dirty room with a stranger, Saw-style, but the setting is more of a Snowpiercer-like dystopia. He’s stuck in a tower where prisoners are fed by a descending platform. It starts out on the top full of immaculately prepared foodstuffs, then slowly descends through dozens of levels, as people take what they want and leave progressively less for anyone below them. (To keep people motivated, they are relocated every month of their sentence, so they can nearly starve one month, only to live high on the hog the next.) Sound familiar? The movie’s life-under-capitalism metaphor isn’t remotely subtle, but neither are the Saw pictures, and The Platform is a more provocative science fiction thought experiment than most of those.
The Platform is streaming on Netflix.
Another in a long line of travelers-menaced-by-locals horror movies, Vacancy came out in 2007, the same year as Saw IV. At the time, they didn’t seem much alike, and to be sure, this is more of a standard horror thriller in many ways. There aren’t any soap-opera backstories, MPAA-testing kills, gravelly voices on microcassette, or sweating, hulking cops with ulterior motives. Yet the story of a bickering couple (Kate Beckinsale and Luke Wilson) who must navigate their way through a motel rigged with trap doors, murderers, and surveillance cameras echoes several Saw entries in the notion of working through interpersonal strife via a terrifying, limited-location ordeal. (And here, none of the games, such as they are, appear to be rigged.) Director Nimród Antal works with great efficiency over his 85 minutes; his other genre features, Armored and Predators, stray further from horror, but are worth seeking out, too. Vacancy also pulls off what Spiral attempts with its addition of Chris Rock and Samuel L. Jackson: It classes up a disreputable genre exercise with more familiar stars than the usual Saw lineup of B-and-C-list odds and ends. The ease with which Beckinsale and Wilson play their early marital-tension scenes make all the running, hiding, and screaming play better later on.
Vacancy is streaming on Starz and available for rental on Amazon, Vudu, and other platforms.
Though the rest of these movies all have some conceivable influence from the initial Saw or its sequels, Vincenzo Natali’s nasty 1997 indie sci-fi scary movie Cube is probably the series’ closest progenitor. It follows a group of strangers who wake up together in a cube-shaped room, part of a vast, trap-laden maze. Naturally, some of them will tear at each other nearly as readily as the maze’s vivisecting mechanical horrors tear at them. It’s easy to picture Jigsaw watching Cube as inspiration — a platonic standard of existential dread that his grubbier warehouse settings are constantly failing to meet. Though this is obviously more of a sci-fi story than Saw, it’s a similar feat of filmmaking, as it creates nightmarish tension from modest, low-budget settings.
Cube is streaming on Kanopy, with an ad-supported variation on Tubi, IMDB TV and other services, and a leasing variation on Amazon, Vudu, and other platforms.
Jobber Wiki author Frank Long contributed to this report.