Saw (2004)

In horror, there exists a constant balancing act of being transgressive while retaining accessibility to a wide audience; Saw manages to do this despite its bloody trappings.

The entire film is coated in urban grime, from the sets to the color grading to the characters themselves. This effect is furthered by the film's rotten and rusted aesthetic. The props in their crude and unpolished designs suggest the industrialization of violence, which, ultimately, is the true bloody heart of the film.

The movie curiously demonizes and lionizes Jigsaw, played by Tobin Bell. His philosophy of industrializing violence is pushed so far it is almost treated as a potential virtue. Through suffering, gratitude for one's life is achieved; through this gratitude, true change can supposedly begin.

The film offers more narrative weight than most horror movies, with the plight of Dr. Gordon only elevated further by the performance of Cary Elwes. His cries as his family is tormented over the phone are gut-wrenching. Leigh Whannell, also responsible for writing the film, commits with profanity and attitude to his part as Adam, the unscrupulous photographer. He is equal parts annoying and funny, just as the role calls for.

The ending ties the story in a surprising bow that will leave the audience in awe as the music swells appropriately.

While guilty of indulging in violence over substance, this remains a design of the film for better or worse. And in all its gore and viscera, Saw still manages to strike the key balance between transgression and accessibility with its humanized characters, flashbacks, and investigation of Jigsaw through police work.

With disgusting practical effects and convincing performances by our players, Saw's bloody and exploitative purpose is clear: "I want to play a game."