You know the game by now. Gory kills, convoluted lore and ridiculous third act twists are par for the course in the now 9 film-spanning Saw franchise, but new entry and alleged spin-off Spiral aims to change things up a bit. With a starring turn from Chris Rock – who helped spearhead the franchise revival – and a socially aware storyline that seeks to take aim at police brutality in America, Spiral was shaping up to follow in the footsteps of the recent Halloween reboot: a return to what made the franchise great, updated for modern times with a slightly comedic edge. Unfortunately, Spiral is largely more of the same from the series that coined the term “torture porn”, a lacklustre sequel that admittedly places more emphasis on story this time around, but at the expense of the kills the franchise has become synonymous with.
Rock is Zeke Banks, a hot-headed, tough-as-nails detective whose stock at the station is at an all-time-low after informing on a corrupt colleague, isolating him from his fellow detectives. When his closest friend on the force is discovered brutally dismembered by a train, Zeke and rookie detective William (Max Minghella) are thrust into a brutal battle of wits against a mysterious, pig-masked killer channelling the behaviours and gory, over-the-top traps of the deceased Jigsaw killer. As the game becomes increasingly deadly and more and more police turn up in body-bags, Zeke is forced to turn to his father and former police chief Marcus (Samuel L. Jackson) for help in tracking down their copycat killer. As with all Jigsaw games however, there is another motive bubbling under the surface, and soon Zeke finds himself confronted with some deeply disturbing personal choices to be made in order to finally bring about justice.
Lionsgate, 2021
Spiral doesn’t need to be a Saw film. Plain and simple. The “Book of Saw” suffix and throwaway references to Jigsaw could be completely removed without any resulting effect on the story being told. None of the characters or events are tied to the lore in any significant way leaving the traps – which admittedly bear the same gruesome, handmade aesthetic of the original films – as the sole identifier of the connection to the Saw franchise. If Rock and director Darren Lynn Bousman’s intentions were to create a police procedural with a statement on brutality and its place in the current world (which it very much seems like they are), then dialling the traps down could have actually improved the impact of that message. As it stands, the traps serve as a reminder that this is, in the loosest sense possible, indeed a part of the series and the attachment to Saw seems more like a marketing ploy than anything else, luring fans into the cinema who may otherwise not turn up for Chris Rock’s gritty detective movie.
As far as those traps go, none of them are especially memorable or more gruesome than anything that has come before. The old-school editing and style choices of the 2000’s films make an unwelcome return as well, with lightning quick edits across the gore and the sharp, screeching screams punctuating each cut annoying instead of frightening. Horror has evolved in the time since these practices were at their peak and countless horror films since have shown that you can have your characters express genuine emotion and hysteria through solid acting and camera placement rather than cheap effects. Spiral is also the most ear-splittingly loud horror film since 2017’s IT, another victim of the worst modern horror trope that requires each and every jump scare to be punctuated by a sound-barrier breaking screech. On top of that Spiral is also an especially ugly film, with a grimy brown and yellow colour palette that worked in the older films within their dingy warehouse settings but robs the city of Los Angeles of any vibrance or colour that might serve as a reprieve from the dour goings-on of the police precinct.
Lionsgate, 2021
Now we get to the interesting part: Chris Rock. He is the first big-name talent attached to the franchise since Danny Glover all the way back in the original and, along with Samuel L. Jackson, instantly adds a pedigree to a series that has long since been regarded as trashy B-movies. His performance is an intriguing one, a mix of grizzled veteran detective stereotypes rolled into one hugely unlikeable bastard. At first it seems unclear if this is meant as parody or not but soon the self-awareness of the performance comes through in the shots of humour expected from Rock. Unfortunately the character is never fully fleshed out enough to be sympathetic, even with the multiple flashbacks that give insight into his relationships with his father and fellow officers. Jackson is always great and his top-notch delivery of foul-mouthed tirades goes a long way to injecting some energy into the film, but it is far too little too late in the piece to save audiences from the all encompassing blandness of Spiral, with Jackson’s big set-piece an especially predictable affair devoid of any tension.
Spiral is yet another forgettable entry into the once revolutionary Saw franchise, albeit one that pushes itself into the middle of the pack thanks to Chris Rock and Samuel L. Jackson’s natural charisma (and the godawful terribleness of some of the other sequels). But the ugly presentation, lacklustre traps and middling, predictable story stop this reboot from truly reinventing, with its social commentary coming across as a hollow re-skinning of the same old Saw rather than a thoughtful examination of police brutality and accountability. If you’re a fan of the franchise you’ll likely be disappointed by the lack of any connection to what has come before but if all you’re after is a few extremely gory torture scenes, well then this has you covered I guess. For everyone else, decline to play this particular game.
Lionsgate, 2021
Spiral: From the Book of Saw stars Chris Rock, Max Minghella, Marisol Nichols & Samuel L. Jackson – In cinemas now.
The spooky season coverage continues with the top 10 horror films of the 2000s! In a decade full of excellent remakes and bold new genre favourites, it was tough to whittle it down to just 10 – but these are the best of the best, representing the scariest, goriest and straight out terrifying films of the decade. While there may be a few notable omissions (sorry American Psycho, we still love you) these are the films that continue to haunt us, making us check under the bed and in the closet for chainsaw wielding maniacs and mutant cannibals. We’ve even snuck a few hidden gems in that might make their way into your annual Halloween rotation, just make sure to see them on an empty stomach!
10. Final Destination (2000)
New Line Cinema, 2000
Fans of the Saw and Wrong Turn franchises owe a lot to Final Destination for raising the bar in Hollywood horror deaths. An extension of the teen slasher films popularised during the 90s, the film adds an intriguing spin on the genre, by making Death itself the killer; picking off the cast in increasingly complex and clever ways. After witnessing a vision of the plane he has boarded crashing shortly after takeoff, Alex Browning (Devon Sawa) and several of his classmates are unceremoniously thrown off the flight, shortly before that vision becomes a reality and the plane explodes. As the few survivors are slowly taken out through a series of “accidents”, Alex begins to suspect that Death is catching up to them as punishment for missing the flight and must team up with his friends to circumvent their gruesome, untimely demises. While the franchise went on to have some truly spectacular and over-the-top death scenes in future instalments, the original film remains the best, giving the characters real depth as they struggle with their different approaches to the grief and guilt they feel after surviving the plane wreck. That isn’t to say that the deaths aren’t incredibly engaging; long, slow sequences that ratchet up the tension and keep you guessing with multiple red herrings before dropping the final hammer. The music also adds immensely to the film, giving the invisible Death its own eery musical cues that make the hairs on your neck stand up as you start scanning the room for instruments of doom. More than anything, Final Destination is a fun horror film, filled with enjoyable characters and deaths that will make you scream and wait with bated breath for the next inventive fatality.
9. Dawn of the Dead (2004)
Strike Entertainment/Universal Pictures, 2004
Before they were tackling two of the biggest super-hero properties of the modern age, writer James Gunn and director Zack Snyder were in the somewhat unenviable position of remaking the definitive zombie movie of all time for modern audiences: George Romero’s 1978 masterpiece Dawn of the Dead. The duo retains the core narrative of survivors of the initial zombie outbreak sheltering in an abandoned shopping mall but they wisely update it for modern audiences, adding in a larger and more diverse cast of characters that play off your classic horror stereotypes in fun and interesting ways (look out for Modern Family’s own Phil Dunphy in a completely different type of role). The late, great Ving Rhames steals the show here as badass security guard Kenneth, a tough-as-nails fighter who has no time for anyone else’s problems at first but who comes to tolerate and respect these people once the gravity of the situation reveals itself and their shared predicament bonds them. Like the original, Dawn of the Dead is at its best when the zombie’s gory goodness is on full display with flesh being torn apart and heads popping off in spectacularly over-the-top fashion that rivals original makeup and effects artist Tom Savini’s work. It doesn’t quite reinvent the genre, but it does provide a fun update to one of the greatest horror films of all time that respects the source material and keeps you engaged by throwing new zombified problems at our characters at every turn. Forget the zombie dogs, all hail the rise of the zombie baby!
8. House of 1000 Corpses (2003)
Universal Pictures, 2003
Rob Zombie’s films can be somewhat divisive amongst horror fans. The man certainly commits to his heavy metal roots with a distinct style that borders on an experimental film. Colours flash and images fade in and out of negative as we cut randomly to scenes of the backwards hillbillies dancing, and linger on scenes long enough to make even the most hardened horror veteran slightly uncomfortable. House of 1000 Corpses remains Zombie’s best film due to its utter commitment to the madness; a 2000s update of The Texas Chainsaw Massacre with more creativity in its kills and some absolutely bonkers twists in the second half. When two young couples travelling across America in search of the country’s greatest roadside attractions come across Captain Spaulding’s (Sid Haig doing his best attempt at a demented Colonel Sanders) Haunted House, they jump at the chance to learn more about the local legend of Dr Satan, leading them to a literal house of horrors, filled to the brim with psychopathic rednecks hell-bent on inflicting all sorts of horrific torture on their victims. The first hour of the film deftly weaves together Zombie’s twisted sense of humour with graphic, almost fetishised violence, but it is the final thirty minutes of the film that are pure slasher pulp, filled with excellent practical effects and edge of your seat chase scenes. Once you lay eyes on that legendary doctor though, I dare say you may never forget it; I know I’ve had plenty of nightmares featuring the macabre man himself.
7. The Texas Chainsaw Massacre (2003)
New Line Cinema, 2003
Tobe Hooper’s iconic 1974 classic is a film held in high regards by many horror fans, bringing audiences face to face with the chainsaw wielding maniac Leatherface for the first time. Marcus Nispel’s 2003 film is a surprisingly competent remake, recreating that same sense of dread as you hear that chainsaw slowly whirring to life in the distance while expanding on the original’s lore with some cannibalistic new additions to the skin-wearing baddie’s family. Heroine Erin (Jessica Biel) almost outdoes Marilyn Burns’ original lead performance in fact, with more intelligence in those tricky situations and the ability to run in a straight line instead of flailing about as Leatherface (Andrew Bryniarski) steamrolls after her. Speaking of Leatherface, there’s more than enough of the big guy here to satiate series fans, with all the gore and carnage that you’d expect to come from his deadly weapon. The real star however is R. Lee Ermey’s Sherriff Hoyt, a chilling presence who is completely unhinged and whose motivations slowly come to life as his penchant for violence increases. It may not be as good as the original (rare few remakes actually are) but this is still an incredibly fun ride through those familiar Texas backwoods, and one of the best horror remakes ever made.
6. Saw (2004)
Twisted Pictures/Lionsgate, 2004
Before James Wan was helming the action movie madness of the Fast & Furious franchise, he was the fledgling young director behind a 2004 sleeper hit that altered the landscape of modern horror. With a budget of $1.2m, a small cast and a young director, the film really needed to bring something special to the table to cut through the crowd. Wan struck this sweet spot with Saw, a twisted psychological thriller that explored the limits of desperate survival and its gruesome consequences. Before a series of increasingly gory sequels left the plot behind, the original filmplaced strangers Adam (Leigh Whannell) and Lawrence (Cary Elwes) in an abandoned basement with (what appears to be) a recently murdered third man. Chained to the wall with a deadly time limit in place, the pair’s only means to escape was left on the floor between them – a rusty handsaw. It’s a very simple setting and concept that represents the film’s small scale and budget, yet Saw set itself apart with a chilling atmosphere, constant intensity and a series of creative twists. In a genre where so many half-baked ideas and low budget efforts fall by the wayside, Saw was the hit the industry needed to bring this type of horror into the mainstream in the early 2000’s. Releasing in the following two years, Saw II and Saw III capitalised on this success with more gruesome traps and last-second twists before the series inevitably grew stale as instalments kept coming. Despite this, the initial outing is still one of the most infamous horror releases of the decade – just be sure not to fire up a series marathon over dinner.
5. Shaun of the Dead (2004)
Universal Pictures, 2004
Well here’s an entry on the list that isn’t quite like the others. As one of the most critically acclaimed films of the decade, 2004’s Shaun of the Dead is not the first movie most would think of when horror is the subject. Netting a modest sum in cinemas, the film grew to become a cult hit in the years since its release as one of the best comedy-horror mashups of all time. The decidedly British tale follows average-joe appliance salesman Shaun (Simon Pegg) and his unemployed layabout best-friend Ed (Nick Frost) as they attempt to outrun a quickly unfolding zombie apocalypse. Desperate to save his under-appreciated girlfriend Liz (Kate Ashfield) and naïve mother Barbara (Penelope Wilton), Shaun plans a route through the suburbs to what he believes is their last safe haven – the local pub. What ensues is a series of hilarious events as the well-meaning Shaun is constantly running into the shambling dead, all while trying to manage a crew of onlookers who are quick to provide criticism whenever his plans go up in smoke. While there are a number of physical setups that drive the laughs, the real magic comes from director Edgar Wright’s writing. The lines are instantly quotable from characters that are refreshingly relatable when compared to most other zombie flicks – plus there’s a few genuinely bittersweet moments that cut through both the laughs and the scares to give the film some much-needed heart. While it certainly doesn’t have the terrifying scares of other films on this list, Shaun of the Dead is a horror movie painted thick with smart, well-written and wholehearted comedy. It conquers a genre mix that has never been done as well again and, unless you can find another movie in which legendary British actor Bill Nighy is struck in the head with a cricket bat in his lounge room, you’ll be hard-pressed finding anything quite like Shaun of the Dead.
4. The Strangers (2008)
Rogue Pictures, 2008
Few things are as frightening as the possibility of intruders. People lurking within your house, invading your privacy and completely shattering your illusion of safety. For young couple James (Scott Speedman) and Kristen (Liv Tyler) that nightmare has become a reality as they find their isolated holiday home beset upon by three masked individuals who want nothing more than to torment their victims for as long as possible before ending it all. A taut, high tension game of cat-and-mouse from beginning to end, the film is at its best (and scariest) when the attackers are stalking their prey, fading in and out of the shadows within the house unbeknownst to the occupants; a white mask that is there one minute and gone the next. It’s horrifying stuff that will have you checking every corner of the room before heading to bed. Once the couple begins to realise what is happening, the film puts the pedal to the metal as the trio of intruders prove to be not just good at hiding but also extremely clever (a rarity for the horror genre); thwarting escape attempt after escape attempt, constantly getting your hopes up and dashing them. Perhaps scariest of all is the lack of motivation. There is no complex reason for wanting these people dead nor any particular reason they were chosen to be attacked; it was simply a matter of the wrong place at the wrong time. Despite only being very loosely “based on true events”, that opening line seeps into your brain and gives The Strangers true staying power, implanting a terrible thought in your mind that will have you thinking about it long after the credits roll: could this happen to me?
3. The Ring (2002)
Dreamworks Pictures, 2002
Hollywood has a history of bastardising their attempts at remaking foreign films (Oldboy anyone?) which makes director Gore Verbinski’s interpretation of the 1998 Japanese classic Ringu all the more impressive. Led by a pitch-perfect performance from Naomi Watts, The Ring is less of a through and through horror film and more of a mystery with horror elements. While that might sound like a bit of a cheat to include on the list, the creepy atmosphere that it builds is so haunting and infecting that it gets under your skin better than most “pure” horror films. The Ring crosses that barrier into a truly excellent film regardless of genre, telling the tale of Watts’ Rachel, a single mother whose niece is found dead one week after watching a mysterious video tape. As Rachel’s investigation into her niece’s death goes deeper, she enlists the help of her ex-boyfriend Noah (Martin Henderson) and the pair begin to uncover a terrifying tale of ghostly spirits and child abuse as they race against the clock to avoid their own grisly demises within the week. Watts and Henderson’s chemistry is excellent; subtle and moving in all the right places, with a side-story of Noah reconnecting with his son and the possibility of the family unit reuniting working to ground the characters and provide the audience with an easy way to get invested. Once the ghostly occurrences become more frequent and the mystery begins to reveal itself, The Ring becomes a non-stop ride of tension right till the very end; a chilling tale that will surely become an annual favourite come spooky season.
2. The Hills Have Eyes (2006)
20th Century Fox/Craven-Maddalena Films, 2006
The Hills Have Eyes is a disgusting film. A remake of seminal horror director Wes Craven’s sophomore feature, the film follows a particularly unfortunate American family who make a detour through the New Mexico desert on their way to San Diego, only to be waylaid by a family of hideous cannibals, mutated generations earlier by atomic bomb testing in the area during the 70’s. There’s a certain uncleanliness to the film that comes across in every aspect, whether that be the barren, filthy desert setting, littered with bones and viscera, or the make-up and effects work on the cannibals to make them look truly nightmare inducing. However by the time the hour mark hits, the whole affair takes a shift into truly unsettlingly disgusting territory, and boy does it do it well. The RV attack scene will have you reaching for the nearest bucket to throw up in, shielding your eyes from the horrors you are seeing. This is not one for the weak stomached and even less for the easily frightened. Scenes and characters from The Hills Have Eyes have haunted me for almost 15 years since I first laid eyes upon them. They’ve kept me up at night and stopped me from eating. If you consider yourself a horror aficionado then give it a go, but don’t come crying to me when you can’t sleep for a month afterwards.
1. The Descent (2005)
Celador Films/Pathe UK, 2005
Few films capture the terror and crushing isolation of claustrophobia as well as The Descent. The film, which follows five women trapped on a spelunking adventure into a cave system in the Appalachian Mountains, would be horrifying enough even without the addition of Gollum-like creatures lurking in the depths, ready to rip apart anything foolish enough to enter their nest. What separates The Descent from your typical monster movie is director/writer Neil Marshall’s commitment to creating fully fledged, well rounded characters, led by a fantastic performance from Shauna MacDonald. MacDonald truly shines as the traumatised Sarah, a year on from losing her husband and daughter in an accident and still grieving as she joins her friends in an attempt to recapture her adrenaline-fuelled former life. The interplay between these women is at the centre of this horrific journey and they are all intelligent characters with genuinely useful skills in escaping the cave, whether that be through fighting skills, medical training or situational awareness. No one ever feels like they are there simply to add to the body-count which makes it all the more horrifying when they start getting picked off one by one in increasingly gruesome ways. The creatures that stalk them are engines of pure death, existing only to feed, and the violence they inflict is extremely gritty and confronting, catapulting them to top-tier movie creepy crawlies. The Descent is something of a hidden gem in the horror genre nowadays but this a masterfully executed, tight-wire walk of tension and violence that deserves a bigger following and your attention now.
