Saw X

There is a particular kind of weariness in Tobin Bell’s eyes that you just can’t teach. It’s the look of a man who has spent two decades being the face of a franchise built on blood and gears, yet here, in Saw X, he finally gets to be a human being before he becomes a monster. I watched this film while wearing a wool sweater that was just a bit too itchy, and the constant physical irritation actually felt like the perfect companion piece to the grittiness unfolding on screen.

After the franchise arguably lost its way with the glossy, over-produced Jigsaw (2017) and the Chris Rock-led Spiral (2021), Saw X does something radical: it slows down. Directed by Kevin Greutert—who previously helmed Saw VI and Saw 3D—this entry functions as a "mid-quel" set between the first and second films. It captures a terminal John Kramer at his most vulnerable, seeking a miracle cure for his brain cancer in a sketchy medical facility outside Mexico City. When he discovers the entire operation is a scam designed to bleed the dying of their life savings, the "Jigsaw" persona doesn't just return; it feels earned.

The Man Behind the Puppet

For the first time in the series' history, John Kramer is our protagonist. We spend the first forty-five minutes walking in his shoes, feeling his desperation and his brief, flickering hope. Tobin Bell delivers a performance that anchors the entire experience, proving that John Kramer is the only horror icon who could make a scene about eating a taco feel like a looming threat. When the realization of the scam finally hits him, it isn’t a jump scare. It’s a quiet, devastating moment of a man realizing his dignity has been stolen.

Once the traps inevitably come out, they feel personal. These aren't just random people being tested for "not appreciating life"—they are predators who targeted the weak. This shift in narrative perspective turns the audience into reluctant cheerleaders for a serial killer. We also get the return of Shawnee Smith as Amanda Young, and her chemistry with Bell remains the emotional heartbeat of the series. Seeing their twisted father-daughter dynamic explored with more depth than the original sequels ever allowed is a genuine treat for long-time fans of the Saw collection.

Grime, Gears, and Practical Ingenuity

Visually, Kevin Greutert and cinematographer Nick Remy Matthews ditch the digital sheen of recent entries for a sickly, high-contrast aesthetic that feels like a throwback to the mid-2000s. The color palette is heavy on the nicotine yellows and bile greens, making the Mexican warehouse setting feel genuinely oppressive. In an era of seamless CGI and de-aging technology, there is something deeply satisfying about the tactile, mechanical nature of the traps here.

The sound design, paired with Charlie Clouser’s iconic, industrial score, remains as sharp as a rusty blade. There’s a specific "crunch" to the foley work in this film that made me physically recoil. It’s not just about the gore; it’s about the mechanical inevitability of the devices. The "Brain Surgery Trap" is a standout, not just for the wet-work involved, but for the sheer psychological pressure it places on the characters. This movie manages to make a serial killer look like the victim of a late-stage capitalism customer service nightmare, and the traps are his way of filing a very permanent complaint.

A Low-Budget Empire Strikes Back

From a production standpoint, Saw X is a fascinating case study in the modern "legacy sequel" era. While the MCU was wobbling and big-budget franchises were struggling to find their footing post-pandemic, Twisted Pictures and Lionsgate went back to basics. With a lean budget of $13,000,000, the film went on to gross over $125 million worldwide. That is an incredible return on investment that proves audiences aren't necessarily tired of franchises; they’re just tired of franchises that lose their soul.

One of my favorite bits of trivia involves the assistant editor, Steve Forn, who was reportedly approached by the police while working on the film’s sound design in his North Hollywood office. Neighbors called the cops because they heard what sounded like someone being tortured to death. Forn simply opened the door and invited them in to see the "Vacuum Trap" sequence. It’s that level of commitment to the sonic experience that makes the Saw films work—they are designed to be an assault on the senses.

Saw X is a rare beast: a tenth installment that might actually be the best since the 2004 original. It respects the history of the characters while engaging with very contemporary anxieties about medical fraud and the exploitation of the vulnerable. By placing the focus back on Tobin Bell and the practical craftsmanship of the traps, Kevin Greutert didn't just save the franchise; he reminded us why we were afraid of the dark in the first place. It’s grim, it’s intense, and it’s a masterclass in how to revive an IP without selling its soul.