RE­VIEWS

Blairgowrie Advertiser - - THE TICKET - Jig­saw (18) ●●●●●

Seven years on from his ‘fi­nal’ chap­ter, se­rial killer-with-ad­if­fer­ence Jig­saw makes a not-so­sur­pris­ing come­back – or does he?

Part of the in­trigue be­hind the eighth Saw movie is whether Tobin Bell’s moral mad­man is truly back from the dead, or if we are now deal­ing with a copy­cat.

Need­less to say, you will not find the an­swer to that ques­tion here; all I will re­veal is that we are once again pre­sented with an­other group of ques­tion­able char­ac­ters be­ing put through a se­ries of deadly games while a po­lice and foren­sic team in­ves­ti­gate a grisly body count.

Writ­ing duo Pete Goldfin­ger and Josh Stol­berg (Pi­ranha 3D, Soror­ity Row) are clearly fans of the Saw fran­chise as they know ex­actly what their au­di­ence wants, but fail to add much in the way of fresh­ness or orig­i­nal­ity to the fran­chise.

The Spierig Broth­ers – who pre­vi­ously helmed cre­ative sci-fi Pre­des­ti­na­tion and dis­ap­point­ing vam­pire ac­tioner Day­break­ers – also shoot in a per­func­tory style lack­ing in the se­ries’ trade­mark rock video-like aesthetics and edit­ing.

Be­yond Jig­saw’s mi­nor one-scene up­grade from cas­sette tapes to a USB and an ill-ad­vised late use of CGI blood and gore, there’s not much to dif­fer­en­ti­ate be­tween this and the first Saw film back in 2004.

But, as a fan of much of the fran­chise, it

Caught in a trap Van­der­voort gets pushed to the limit

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