Not only is James Wan's stunning, terrifying directorial debut, Saw, the first post-Bush horror film, it's the one the administration deserves. There's no subtext the movie wears its themes of racism, social Darwinism and even healthcare outrage on its bloody sleeve. As the film opens, two guys a wealthy doctor (Cary Elwes) and a poor photographer (screenwriter Leigh Whannell) wake up chained to a wall in a filthy bathroom they share with a bloody corpse. A disembodied voice gives them a few hours to either kill one another or be killed. They recall now-significant memories in flashback form and a mystery plot coalesces. The spiritual kin of ferociously primitive, politically acute '70s horror films like The Texas Chainsaw Massacre and The Hills Have Eyes, Saw is extremely informed by post-Sept. 11 anxieties. Its final, shocking 30 seconds reveal that the real evil is still out there, anonymous, its rage only vaguely defined and well up to the demands of a sequel.
We welcome readers to submit letters regarding articles and content in Orlando Weekly. Letters should be a minimum of 150 words, refer to content that has appeared on Orlando Weekly, and must include the writer's full name, address, and phone number for verification purposes. No attachments will be considered. Writers of letters selected for publication will be notified via email. Letters may be edited and shortened for space.
Email us at email@example.com.
Orlando Weekly works for you, and your support is essential.
Our small but mighty local team works tirelessly to bring you high-quality, uncensored news and cultural coverage of Central Florida.
Unlike many newspapers, ours is free – and we'd like to keep it that way, because we believe, now more than ever, everyone deserves access to accurate, independent coverage of their community.
Whether it's a one-time acknowledgement of this article or an ongoing pledge, your support helps keep Orlando’s true free press free.