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SAW 1-7 Gesamtbesprechung


Regie: James Wann, Darren Lynn Bousman, David Hackl, Kevin Greutert
Darsteller: Tobin Bell, Cary Elwes, Donnie Wahlberg, Costas Mandylor, Sean Patrick Flanery

Dr. Lawrence Gordon und Adam Faulkner wachen in einem heruntergekommenen Badezimmer auf und sind in gegenüberliegenden Ecken festgekettet. Eine gewöhnliche Handsäge bietet ihnen eine schmerzhafte Option auf ihre Freiheit... So beginnt SAW, eine Filmreihe, die in der siebten Folge endlich ihr Finale erreicht hat. Was als kleiner interessanter Independentfilm begann hat sich innerhalb kürzester Zeit zu einem finanziell erfolgreichen Horrorfranchise entwickelt und das Genre des zeitgenössichen Horrofilms greatly influenced. First, a brief discussion of the puzzle pieces in detail:



SAW I
With SAW, comparatively low-budget surprise hit and brought to a wide range of cinematic imitation offenders rolling. The perfidious game of the serial killer Jigsaw is a successful reminiscence Horroklassiker numerous offers because of their own handwriting, and the fresh ideas quite large voltage potential. The characters of the film are neglected, this flaw is offset by the strong ideas of individual ordeals. SAW gave the leached and now an unprincipled serial killer film a live-and leaves the viewer literally self-pity. The depiction of violence is here - unlike the sequels - not quite as graphically and is more in the power of suggestion. This first part was not originally created for a sequel, but SAW was a more or less successful and profitable horror series.



SAW II
The rapidly produced second part is probably the weakest part of the series, scenically copies of the film its predecessor and offers only an unimaginative sequence of cruel torture sequences without dramatic surprises. From the finesse of the first part here is to feel nothing, only the introduction of a new character, Amanda, is for the rest of the series of importance. The newly appointed director here Darren Lynn Bousman also resulted in part three and four-direction.



SAW III
The third part of the SAW series is by far probably the most brutal section and also marks the end of the serial killer Jigsaw. Slowly unfold the dramatic possibilities and the puzzle pieces of the film series begin to assemble a large image. Interesting here is the involvement of the previous Films and the dramatic links to them. While here the focus is clearly on the graphic portrayal of violence - in places, but flashing interesting approaches in the child detective story. Any accomplices and their motivation should become one of great importance for the series.



SAW IV
In typical for the SAW series of flashbacks, now is a whole new potential threat detected and brought the great work Jigsaws completing a step closer. Unfortunately, the focus in this part too much given to the enormity of the brutal traps - the well-exploited potential of the voltage Police investigating the other hand, saves the movie for long stretches. The lack of a role model makes it difficult to access for this film considerably.



SAW V
The fifth part is probably by far the strongest part of the series. The splatter effects are not used in exceptional cases end in itself and the criminal act certainly knows how to captivate. This film shows that the true Protential not necessarily the series is the invention of new and ever more cruel traps, but the conspiracy is in the background and the deception of the audience the true strength of SAW. Here, too, in flashbacks a remarkable network created for the predecessors and the motivation of Jigsaw's all the more clear. This part was taken by the critics, interestingly, the weakest, with the result that one for a change in the director's chair and decided to give David Hackl his staff had to go to Kevin Kreutert.



SAW VI
In principle, the sixth part of the series is nothing new to add, fans of the series, he offers interesting insights into the history and motivation of Komplitzen and directs the rails slowly but surely towards Finale - The end of the film uncovered the true offenders [its identity one as a spectator after the fourth part knows], forcing him to steps that the work of Jigsaw will end for good.



SAW VII
In his latest plan unmasked Jigsaw post mortem an impostor who pretends to be a survivor's treacherous traps and capitalize on his invented biography attempts. The final of the SAW series of acts designed sometimes something can be, however, a fact, is how SAW 7 - COMPLETING the series in a satisfying way to end once and involved many of the characters of previous films. The actual plot here is a little too short, but the rounds of film Saga on exciting and high-quality filmed way off.



Conclusion:
The biggest advantage of SAW is the most consistently successful presentation by Tobin Bell in the role of Jigsaw, but also his future accomplice [who remains nameless at this point, of course] to believe down the line. You can blame the film series that the characters are often neglected, but it still lacks tension before. The splatter effects have all been created by means of pure craft and accordingly very effective ["success" would be an inappropriate attribute]. In the role of spectator excitement at one of the detailed production all the traps and is run again and again to their own exposure limits. These sequences also led to a long history of censorship in Germany, which was followed by indexing, seizures and a wide media attention due to the significant representation of violence, making it difficult to access the full text versions of individual films significantly. You have to see SAW 1-7 in quick succession to all the dramatic context to understand. Of course, the films are primarily made for fans of bloody entertainment - apart from these possible reception, the film offers in its crime level of great surprise and has frequently an "aha" ready, as found him only in TV series such as DEXTER and BREAKING BAD. This might have already SAW works better as a television series, nevertheless it has to be a look at this film series to risk - a strong stomach Vorrausgesetzt. were filmed for a seven-part film series, the individual films in such a short sequence, the quality of the series is quite remarkable.


6 / 10 buckets of fake blood

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INTO THE WHITE NIGHT


Director: Park Shin Woo
book Park Shin Woo, Park Yeon Seon
Starring: Han Suk Kyu, Son Ye Jin, Go Soo

takes Fourteen years Detective Jo Min Woo [Han Suk Kyu from THE SCARLET LETTER] investigating a unsolved murder case again. A young woman and a man were involved in the child's age in this case, but they could never establish a connection be established to act. Jo Min Woo came across some new research literally proliferating deeper roots and covers unexpected motifs on a mysterious crime.

Nothing is as it seems!

Park Shin Woo's [second unit director on THE CHASER] directorial debut WALK INTO THE WHITE NIGHT is a very dark and melancholic mystery-puzzle, which composed of only late in a tangible and understandable picture. The time jumps between the time of the murder and the investigation into the presence of light the background of the complex relationship between the two main characters step by step. The film succeeds in the voltage will always be upright and touching on the emotional level high, which is partly due to the successful presentation of Son Ye Jin and Soo Go in the roles of the two involved. The influence that seems to have taken the crime on their lives, is described explicitly and engaging manner. WALK INTO THE WHITE NIGHT is very generous to the display of naked bodies, which in Korean cinema quite as scandalous sensitive issues such as child abuse and rape are treated openly - - should be called is still the film must not make the accusation this exploit an end in itself. Despite its critical elements, the film is not Explotationfilm but a moving and sad and gloomy at the same time crime drama. BYAKUYAKO [Korean title is another gem of contemporary Korean cinema and probably a treat for every fan of mystery stories and the tragedy of his. Besides MOTHER [review here] the most successful Korean imports from the year 2009!

A Rare Pearl

BYAKUYAKO based on the eponymous Japanese novel in November 2009 and was a big hit in Korean cinemas. The film is only available in the original language with English subtitles, a synchronized release seems unlikely, as the land of opportunity [again] the rights secured to a remake has - whether the sexual taboos in American cinema played exactly that way, be doubted at this point, however.


9 / 10 taboos

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MACHETE


Director: Robert Rodruigez
book Robert Rodruigez
Starring: Danny Trejo, Jeff Fahey, Robert de Niro, Jessica Alba, Michelle Rodruigez, Steven Segal, Lindsay Lohan

in 2006 brought Quentin Tarantino and Robert Rodruigez two films as part of their project GRINDHOUSE in the movie theaters: DEATH PROOF and PLANET TERROR. In the U.S., these two strips ran in the double and were accompanied by a fictional trailer show. MACHETE was among others one of these trailers and staged entirely convinced by excessive splatter effects and a crazy [not available?] Plot. This short film experienced a very positive response, which Rodruigez [DESPERADO, FROM DUSK TILL DAWN, SIN CITY], dazu brachte seiner Figur MACHETE eine ganz Filmtrilogie zu widmen.

Ein altbekanntes Konzept

GRINDHOUSE war ein sehr interessantes filmisches Experiment und löste eine ganze Welle von Explotationfilme aus. Tarantino und Rodruigez haben den Charme einer ganze Ära des schmuddeligen Billig-Actionfilms erkannt und mit sehr viel Selbstironie in ihre Beiden mehr oder minder gelungenen Filmsegmente eingewoben. MACHETE knüpft einige Jahre später an diese Konzept an - nun stellt sich allerdings die Frage: Hat der Film seinen Vorgängern etwas Neues hinzuzufügen?

Zwischen Hommage und Satire

Die Geschichte ist bei diesem Genrefilm natürlich völlig zweitrangig, die überdeutlichen Splattereffekte und die knallige Action stehen hier eindeutig im Vordergrund. MACHETE alias Danny Trejo überzeugt durch seine wortkarge, aber dennoch schneidige [!] Form der Kommunikation. Die Action kracht, das Blut spritzt, die Mädels sparen oft an unnötigem Stoff und Rodruigez konnte mit Steven Segal, Jeff Fahey und Robert de Niro [!] auf eine exzellente und lustvoll spielende Darstellerriege zurückgreifen

Zu früh gefreut!

Leider zündet der Film nicht wirklich, MACHETE schreit von Anfang an "Ich will ein Kulfilm sein", geht aber viel zu großzügig mit seinen trashigen Versatzstücken order. Rodriugez adds his hit PLANET TERROR is nothing new, but simply copies its own style. It has seen an act to try the former Fake trailer cut, but the result looks very trying. For an evening beer stressed MACHETE always enough, but "cult" can now not simply generate as planned, but is shaped by the circumstances of his time. The fake trailer for Machete rocked the film itself is rather unnecessary and langweillt quite fast.


4 / 10 blunt machetes

Here's the trailer FAKE [of a "Full-feature saves]:

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MONSTERS


Director: Gareth Edwards
Written by: Gareth Edwards
aside to represent: Whitney Able, Scoot McNairy, Kevon Kane

A NASA probe to find by alien life forms crashes on Mexico, six years later, this area of "infected area" declared and populated by 100m high tentacle creatures. A newly built wall now separates South and North America from each other and emphasizes even more the gap between nature and civilization and rich and poor. The photographer Andrew and his companion Samantha, the daughter of his publisher, must to fail due to an unfortunate chain of destiny the way through this unknown territory. On this journey they discover a world that stands in stark contrast to their normal civilized living space.

A real monster movie?

The film does not show much of his kills, but that's what is not shown creates an incredibly suggestive tension and creates an image of this unagitated terrifying and at the same time fascinated the world in the mind of the viewer. MONSTERS is definitely not a movie for Monster-trash fans riot or fetishists. This is rather a subtle image of a dangerous scenario and generates a lot of emphasis on the two protagonists the film and their relationship to each other down. The characters in this movie are beautifully drawn and can be experienced as a spectator a very close bond to them. The ongoing process of their first meeting occupies a very large part of the film and is at least as interesting as the real monster scenario.

atmospheric, despite the low budget

director Gareth Edwart MONSTERS realized with his debut film and played the entire production with a budget of 280,000 dollars [!]. A remarkable achievement since the film is both visually and acoustically convincing. It was filmed entirely on location and all the supporting roles were filled by the people living there. MONSTERS is a prime example of a good movie decides not cost much money needs, but the vision of the people behind the camera on the quality of a work. MONSTERS captivated by its great atmosphere, what is lacking also the brilliant camera. The contaminated land border between South and North America is trapped in a very atmospheric and authentic images, this also contributes to the great soundtrack by Jon Hopkins, a significant part. The minimal use of effects enhances the dramatic effect and enhances the credibility of the whole scenario. Similarly, the film benefits from its high, improvisierenden Schauspielern und einer für dieses Genre gänzlich unkonventionellen Erzählweise. MONSTERS ist ein angenehm unprätentöser und ruhig erzählter Film, der in entsprechenden Schlüsselszenen dennoch ungemein spannend wird. Das Ende des Filmes überzeugt sehr und ist sowohl meisterlich umgesetzt als auch berührend und nachdenklich.

Wer sind die "Aliens"

MONSTERS zeigt sehr schön wie sich die Natur die Zivilisation zurückerobern kann und ebenso findet eine interessante Auseinandersetzung über das "Fremd-Sein" statt. Trotz dieses Tiefgangs wirkt der Film niemals aufgesetzt oder abgedreht philosphisch, denn diese interessanten Fragestellungen finden alle zwischen the lines instead. The film can be dramatic in any drawer stuck, this may well be disappointing for monster movies and sci-fi fans can be, however, completely at ease one of the film, so expect a [true!] With MONSTERS one of the best independent films of the year and perhaps the best monster movie in many years.


9 / 10 tentacles for breakfast

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SKYLINE


Director: Colin Strause , Greg Strause
book Joshua Cordes Liam O'Donnell
Starring: Eric Balfour , Donald Faison, Scottie Thompson, David Zayas

The great success of the cheap but still produced very impressive DISTRICT 9 aroused the interest of the film industry an Alien invasions in the cinema. Be it in the coming WORLD INVASION: BATTLE LOS ANGELES discussed here or in the film SKYLINE, which is also produced with relatively favorable budget sci-fi film. Strouse, the brothers have earned name and rank, by they created the effects for big Hollywood productions of the mark 300th Her directorial debut, ALIEN VS PREDATORS 2, however, applies both among fans and among critics as set entirely in the sand, dramatic and theatrically unimaginative degenerated into a civil war between the Aliens and Predators to a single dark splatter orgy without rhyme or reason. With the independently produced SKYLINE they both now want to improve on their profile.

Human meets Alien!

Unfortunately SKYLINE committing the same mistakes as AVP2. The central core of an emergency situation - the human drama - is neglected completely and one wishes the unpleasant and illogical operating protagonists achieve the fastest possible Filmtod. In fact, the film gains momentum in the final third, mind you been here almost the entire cast and the great riot squad decimated ruled the silver screen. But until then it's a long way: Almost the entire first half of the film extends a tough introduction to the terrible unsympathsichen characters of this film. The restriction on the scene [The hotel] is a dramaturgical means, which is used in many films as a stage for an exciting board game, here comes this cinematic tool at all to use and the local restriction annoys the audience after some time only.

What is this? A blue light! [Quote from Rambo2]

missing Basically SKYLINE at its own charm, wit and suspense. The film uses the pattern of films: WAR OF THE WORLDS, CLOVER FIELD INDEPENDENCE DAY place, but not their own visual language or a clear dramatic line. The two directors just seem to be a filmmaker, then SKYLINE feels constantly like the intro to a video game. A series of effective heavy Alien and monster scenes with mandatory Bassgedröhne loud, long time no result yet thrilling film. SKYLINE in the world comes in - but that leaves you completely cold!


2 / 10 twisted minds

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Papas Kino ist tot! - Palast No.4

HOME - A GERMAN HISTORY represents the life work of German director Edgar Reitz, who created this extensive series of films with a complex picture of Germany and its people between 1919 and 2004. Nevertheless HOME is not a history lesson but rather a portrait of a family who exemplifies the ideals of their time. Reitz explores "the concept of 'home and discovered that this is less a place than an intangible feeling of home and belonging.

dedicate this issue of the magazine, this extensive palace trilogy and tries to shed light on the methods of their production.

to download for Ebooks and read offline.
→ Palace No.4 [Papas Kino ist tot!]

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DIE HIGHLIGHTS 2010


Das [bald] vergange Jahr, war ein Jahr der Überraschungen - zumindest aus cineastischer Sicht! Abseits von den obligatorischen Fortsetzungen [HARRY POTTER, die gefühlte 29te Fortsetzung der SAW-Reihe etc.] und den üblichen Mainstreamblockbustern [A-TEAM, DUELL DER MAGIER, etc.] fanden einige sehr aussergewöhnlichen Filme den Weg auf unseren Kontinent [wenn auch teilweise nur in DVD/BD-Form.

Ob groß oder klein: Mit Herz muss es sein!

Für mich persönlich ist ein Film dann gelungen, wenn es ein Regisseur schafft zu verdeutlichen, dass er mit [s]einer Vision has entered behind the camera. Even if he should fail then the individual viewer but then one can feel the passion of a true film-maker [as opposed to pure commission]. It hurts when to go once so honest filmmakers like Kevin Smith through the institutions of Hollywood and deliver a colorless and completely free handwriting mainstream Quark as copout. And from those disappointments was the cinema year 2010 is not spared. In contrast, the following films will be presented which have touched me personally and have left a lasting impression in my synapses.

What were your highlights?

post your favorites in 2010 with a short Reason and a valid E-Mail/Blog-Adresse and wins a Bluray of HARRY BROWN [deadline 01.09.2011]



the cinematic highlights of 2010:


ANTICHRIST
Lars von Trier's bleak psychological drama which is not afraid to break the sexual conventions of cinema and from the recent work of the director completely emancipated. Style and content, this homage to the Russian director Tarkovsky Anrej [Der Spiegel, SOLARIS] is a masterpiece.
→ to meeting [Antichrist]



ENTER THE VOID
Für mich persönlich das Highlight des Kinojahres 2010 - ein Film der es Buchstäblich schafft in den Kopf seines Protagonisten einzudringen und die Grenzen zwischen Raum und Zeit zu durchbrechen. Ein Höhepunkt des innovativen Kinos, der nicht nur handwerklich absolut stilprägend ist. Ein Kunstwerk!
→ Zur Besprechung [ENTER THE VOID]



DER GHOSTWRITER
Roman Polanski stellte mit seinem kühlen Thriller den wohl besten Krimi der letzten Jahre auf die Beine, toll gespielt, interessant erzählt und im besten Sinne Hitchcock'esk! Ein spannendes Verwirrspiel mit dem Zuschauer, das man sich definitiv nicht entgehen lassen sollte sollte. Räumte beim Europäischen Filmpreis einige große Trophäen ab!
→ Zur Besprechung [DER GHOSTWRITER]



VALHALLA RISING
Oberflächlich betrachtet ein rauher Wikingerfilm, gräbt man jedoch eine Schicht tiefer, so stößt man auf eine Art postmodernen Science-Fictionfilm. In seinen besten Momenten erinnert Nicholas Winding Refn's Film an das Werk von Werner Herzog [DER ZORN GOTTES, FITZCARRALDO] Eine wirklich große und beindruckende Bilderflut, die es hierzulande leider nicht in die Kinos geschafft hat.
→ In order to discuss [VALHALLA RISING]



HARRY BROWN
Michael Caine in the touching and also exposes rousing revenge movie. Great shot and played great. In the best tradition of DIRTY HARRY and the recent movie GRAN TORINO [both with Clint Eastwood]
→ to meeting [HARRY BROWN]



THE ROAD
A dark vision of the future precisely so succeeded is because it is so incredibly realistic and brought to the screen. The end of society is far from blockbuster conventions and action constraints to oppressive manner, tells great cinema!
→ to meeting [THE ROAD]



MOON
successful with his debut film brings Duncan Jones, a brilliant, very classic science fiction in the movie theaters, which breathed an almost kubrick'schen spirit . A rare pearl, which sang in the local cinema, unfortunately, quietly went down.
→ to meeting [MOON]



CRAZY HEART
The Dude says this time it seriously! CRAZY HEART is an honest Image of a music avoids clichés, told with heart and is in the essence of pure cinema. The brilliant soundtrack, the actors perform largely self contributes to the success of the film in not insignificant.
→ to meeting [CRAZY HEART]



INCEPTION
In a way the brilliant counterpart to ENTER THE VOID. Despite his great success in the mainstream, which stays true to Christopher Nolan and creates a brilliant experiment of the new narrative form. The dream in a dream [...] in the dream in a dream - it is a dream!
→ In order to discuss [INCEPTION]



PRECIOUS
devastating supernatural played well and just damn important! The brilliant counterpart to the hollow and hypocritical underground BLIND SIDE by Sandra Bullock. PRECIOUS could handle two trophies at the Oscars clear. Absolute Movie tip!
→ to meeting [PRECIOUS]



SHUTTER ICELAND
Martin Scorsese shows that the motives of the classic film noir today still work in the cinema and can Leonardo DiCaprio and Mark Ruffalo top form . Play SHUTTER ICELAND is an awesome and very exciting intertwined Mystery thriller Suspense offers the very highest level.
→ to meeting [SHUTTER ICELAND]



A PROPHET
An intensely played brilliantly and formally staged drama from France!
[discussion follows]


What was your highlight of 2010?

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SAVAGE


Director: Brendan Muldowney
book Brendan Muldowney
Actors: Darren Healy , Nora-Jane No one

The Irishman Brendan Muldowney SAVAGE presents to numerous award-winning short films, his first feature film. Superficially, the film works like a trivialized version of TAXI DRIVER, but you look a little deeper, then the audience certainly opens an interesting discussion of the topic of "fear". SAVAGE shows in a very shocking way that not only women can be victims of violent crime, but that such a traumatic experience can take the life of every individual from the rail.

fear, control, anger and revenge

Photojournalist Paul Graynor will heal torn from his world, as one evening of two teenagers is robbed and brutally maltreated. Henceforth, he is plagued by anxiety and unbearable suffering also still hard at the physical consequences of the crime. Acting and scenically the film remains solid at first and can only convince scenically with advancing maturity. No later than the onset of the anxiety begins the film its tension screw to be placed and can then turn attract a fact. The core of the tragedy is about the hopelessness of a struggle against fear and terror in their own head. No knives and no portable power shocker can undo what has happened to Paul and accurate for the precise representation of this knowledge knows SAVAGE convincing.

No milestone, yet captured accurately.

Comparison with STRAW DOGS or TAXI DRIVER may be slightly overestimated, since Muldowney Director contrary to Peckinpah and Scorsese is not a completely new, radical and innovative cinema has created, but it is a filmmaker with a tangible vision and that heart blood SAVAGE ultimately makes it worth seeing. On the one hand you have the DVD series priority channel for their exquisite and unusual publications praise [Van Diemen's Land, WHITE LIGHTNING 'MYSTERIOUS SKIN etc.] but all previously released films suffer from a relatively weak Synchronization, which is especially apparent in SAVAGE. The film is set in Dublin and sprayed a lot of atmosphere with its authentic spoken dialects. This German version has, however sloppily translated and diminishes the movie experience felt.

If a decision is expected for the original, one with a film SAVAGE gets under your skin.


7 / 10 self-defense weapons in the backpack