SAW VI

    Having watched SAW VI, I felt like it bore some relation to America’s healthcare crisis. In this respect, this one seems to have gone against the genre’s tradition of hammering out sequels that do not usually bear upon any aspect of social life.

     In this part, John “Jigsaw”, an untraceable killer, chases William Easton, the head of the insurance company that refused to sponsor an extortionate cancer treatment course for him, which should have involved experimental gene therapy. Diagnosed several parts back, he is still alive and active and he even builds a gang of hang-bys. 

     Eventually, William ends up with explosives strapped to his limbs ready to go off the nanosecond he made a wrong step. Everyone knows that William is a bottom-line person, which is quite observable in the way he decides which of his employees live or die, through manipulating their medical backgrounds. No matter how heartless and cynical he was, watching him fail his tests and bombs on his body explode was but the last thing I might be looking forward to. However, the bloodshed had a serious metaphorical social impact. Not everyone may have the guts to visit health insurance after seeing it presented as a house of torture.

     Anyway, Jigsaw has taken on the role of a moral philosopher and judge, and in meting out punishment for those who violated the law or messed up the lives of others, his eagerness to fulfill this mission is nothing else than a maniac urge. And the political subtext is clearly observable. There is just one thing about the movie that deserves special attention. It has two or three complete scenes, which is not usually typical of horror movies. Particularly, it is not typical of any of the previous sequels. The fact that movie creators have come up with a plot that has made a little bit of sense appears to have been something the public has least expected.