Author: David Medsker (Page 53 of 59)

Let the Games Begin: Best Death Scenes, Saw Edition

We may have been lukewarm with some of the later installments in the series – and in the case of the third movie, downright hostile – but as the “Saw” series wraps up this week with, of course, a 3D movie, we have to admit that we’re going to miss John “Jigsaw” Kramer, even if he’s actually been dead for four years now. The movies may have plunged the depths of depravity in terms of the methods they dreamed up to dispatch their victims, but they were also wildly original, as the legion of copycat movies that followed in its wake will attest (cough “Captivity” cough).

As Jigsaw, Jill and Hoffman ride off into the sunset – though since we haven’t seen “Saw 3D” yet, we admit that claim is a tad premature since Hoffman and Jill could end up dead – we were tempted to update our much-debated “Best Death Scenes” piece from 2007 with some of Jigsaw’s nastier work, but ultimately decided that the series deserved its own installment, kind of like the Beatles getting their own version of “Rock Band.” We’ve compiled our favorite deaths (which doesn’t go hand in hand with the best traps nearly as much as you’d think), along with some other notable exercises in sadism and sociopathic morality. If some notable scenes didn’t make the first list, well, there’s a reason for that. Read on, fellow gorehounds.

Favorite Death Scenes

The Spike Trap (“Saw IV“)

A married couple is bound by long metal rods. They will both die if they do nothing. Morgan, however, will live if she pulls out the rods, but doing so will kill her husband Rex, who’s pierced in vital places that will cause him to bleed out. Did we mention that Rex frequently beats Morgan?

What makes the scene for us is the blind rage on Morgan’s face as she’s pulling one of the final rods out of her body. Something about her gaining her freedom from Rex’s tyranny strikes us as, well, hilarious.

The Acid Needle Room (“Saw VI“)

We’re still debating whether we would have flicked the switch on insurance hatchet man William Easton, but there is no arguing that his death is one of the more memorable deaths in the series, as a gaggle of needles inject his mid-section with acid, melting him from the inside and ultimately splitting him in half. That had to hurt, and his sister watched the whole thing, helpless to stop it.

The Razor Wire Maze (“Saw“)

One of the refreshing things about the original “Saw” was its reluctance to actually show the bodily harm Jigsaw’s first victims suffered, instead going the “Se7en” route and forcing the viewer to use their own sick little imagination to picture what it might have been like. No trap benefits from this as much as the Razor Wire Trap, where an attention-starved suicide attemptee must penetrate a maze of razor wire or be locked away forever. The scene is a model of restraint that its successors would have been wise to employ.

The Bedroom Trap (“Saw IV”)

If there were a scale that measured suffering against how much the victim deserved to suffer, Ivan would be at the top of the list. A serial rapist who tortured his victims, Ivan is strapped into a device that will tear off his limbs if he does not push the triggers that will lead to his being blinded. Ivan obliges, but doesn’t press the second trigger in time, which leads to him suffering the blinding and still being drawn and quartered. Brutal, but we can’t say the dude didn’t have it coming.

The Bathroom Trap (“Saw”)

Gotta give a shout-out to the one that started it all. Dr. Gordon and Adam, chained to radiators in a dank bathroom, have the tools to secure their freedom – they just have to saw off one of their limbs to do it. It’s a good set-up, and one that the movie wisely waits to execute until the finale.

The Venus Fly Trap (“Saw II“)

The first truly gut-wrenching trap in the “Saw” series. Professional informant Michael must take out one of his eyes in order to retrieve the key that will remove the iron maiden-like death mask on his face. But just as he brings the scalpel to his eye, he just can’t do it, and ultimately throws the scalpel across the room in frustration. Three, two, one, snap!

Ice Ice Baby (“Saw IV”)

Nothing in the entire series has made us laugh harder than this. Detective Rigg finally finds Detective Matthews, but he violates police protocol doing so, and the new Jigsaw, police chief Hoffman, makes him pay for it by sending two gigantic ice blocks down to smash Matthews’ head like a grape. A truly laugh-out-loud moment in an otherwise sober franchise.

Most gruesome but ultimately non-lethal traps and games

The Needle Pit (“Saw II”)

Not even the Venus Fly Trap scene that opened “Saw II” could prepare us for this, as one of the gas house prisoners, a drug dealer named Xavier, is tasked with jumping into a giant pit of dirty syringes in order to retrieve a key. Of course Xaiver, being a buff, macho douchebag, throws Amanda in the pit to do it for him. Amazingly, Amanda finds the key (though we’re guessing being a secret accomplice of Jigsaw may have helped), but Xavier drops the key, and the door they were to open locks them in. Never has crunching glass sounded so vile.

The Blade Table (“Saw V“)

Where Brit and Mallick realize that if they all had worked together, no one would have had to die. Jigsaw even told them that at the beginning, but of course, they didn’t listen. And now Brit and Mallick must pay the ultimate price by filling a container with half of the blood in their bodies, instead of a more manageable (but still significant) two pints. Either way, the idea of willingly sticking your hand in a blade saw is just ghastly, and it is easily the highlight of the movie. They do a shot of Mallick where you see that he’s cut himself almost to the elbow, which is just silly; he surely would have bled out in real life.

The Reverse Bear Trap (“Saw,” “Saw VI”)

One of the crueler traps in the series – stranger still, it’s only used on people who either will become or have already become Jigsaw’s accomplices – but it has yet to claim a life. Amanda has to cut a guy open to get the key to remove her mask, which will basically split her head open like a melon. Hoffman has one placed on him by Jill, but manages to stick it between two bars long enough to cut himself free. Of all the traps in the series, this is one of the worst ways to go.

Blissfully quick death scenes

The Shotgun Collar (“Saw III“)

Poor Lynn does exactly what’s asked of her. She works to keep Jigsaw alive, but Amanda doesn’t want her to get away, and shoots Lynn in the back. In comes Lynn’s estranged husband Jeff, who shoots Amanda in retaliation, then uses a blade saw to cut Jigsaw’s neck, unaware that doing so just signed his wife’s death certificate. And guaranteed that there will be no way to identify her using dental records.

The Carousel Room (“Saw VI”)

Shotgun blast point blank to the chest. You don’t have much time to think about that one after it’s happened. Watching it load had to have been a bitch, though.

The Collars (“Saw V”)

Jigsaw implored them to work together, but it would have been pretty tricky for all five of them to retrieve their keys in 60 seconds, and goodness knows the fire inspector tried. A common theory is that one key could open all the collars, but what if you try that and you’re wrong? We would have gone gunning for a key, too.

The Magnum Eye Hole (“Saw II”)

Here, I’ll look through this eye hole while you turn the key in the door we’re not supposed to open. *Blam*

The Jars (“Saw V”)

A bittersweet one for us as the victim was Carlo Rota, who played Chloe O’Brian’s wise-cracking husband Morris on “24.” Hey, at least they would have been able to identify Lynn using fingerprints. But poor Charles here was trapped in a room with four nail bombs. Forget the body bag – bring a hose.

Brutal, or self-parody?

As thrilling – or nauseating – as some of the traps were, there were times when it was just embarrassing and clumsy.

The Mausoleum Trap (“Saw IV”)

Bar none the worst scene in the franchise’s history. Two guys, one rendered blind and another rendered mute, must find a way to free themselves from a pulley that’s dragging them both to be crushed. As we said in our review, it’s like watching a fight between two drunk brothers at a family reunion.

The Pound of Flesh (“Saw VI”)

Hasaan chop! Look at the girl’s eyes as she crazily chops off her arm. That’s funny, right there, we don’t care who ya are.

Fire bad

The Flammable Jelly (“Saw”)

It’s surprising that Jigsaw didn’t use fire more often, because it’s a hell of a way to die. Slow, painful, and messy. This poor bastard had to walk over broken glass to boot in order to escape his dilemma. Pity he got a bit sloppy with that candle.

Dishonorable mention: The inescapable traps of Saw III

If you’ve made it this far, then you are surely wondering why there has been only one mention of a device from “Saw III.” The answer is simple: the movie is appalling.

Those people had no chance of surviving – worse, they killed our beloved Dina Meyer this way – and while that was the point, that Jigsaw was trying to teach the warped Amanda a lesson, the movie ultimately claimed to be above torture in the end after spending the previous 90 minutes wallowing in it. If we’re going to watch a “Saw” movie, the filmmakers damn well better not be wagging a finger at us for doing so. So fuck you, Rack, Angel Trap, Freezer Room and Classroom Trap. Those bits officially crossed the line between unsettling and ghoulish, and will get no love from us here.

So let’s hear your picks for best deaths and traps from the series. We eagerly await your tasteful, carefully considered and courteous comments in the section below.

Friday Video – Hey Champ, “Neverest”

Two words: dolphin boobies. That is not a misprint.

The synth-pop scene has been positively flooded with shitty bands in the last couple years, poseur tools who think whacking a few notes on a synth and acting snotty is all you need to do. But even the simplest kinds of music take sophistication to pull off naturally, and Hey Champ understand that better than most. They also understand astronomy and science fiction, as their (awesome) album Stars is littered with references to steampunk and the Uranus moon Trinculo. Fortunately, those brainy moments are wrapped in some unforgettable hooks, and “Neverest” is one of the hookiest songs the band’s done yet.

And the video…where to start? The band are trapped in some neon pyramid, performing the song for some strange warlord who’s flanked by two topless babes…with breasts shaped like dolphin heads. Your girlfriend will love you for putting this in her iTunes library, but you should probably keep her away from the video, unless you absolutely want to make sure that you don’t get laid tonight.

Friday Video – The Kings, “This Beat Goes On / Switchin’ to Glide”

At last.

This is the video we’ve wanted to post since this column was formed. If you’re of a certain age, then you remember that there wasn’t a single rock station that let the 5:00 hour on a Friday go by without playing this song, all because of five simple words: “Nothing matters but the weekend.” Well, it wasn’t just those five words, of course. The song itself is one of the most cleverly constructed new wave songs of all time, stuffed with Farfisa organs, triple decker harmonies and a pogotastic back half (the ‘Switchin’ to Glide’ part). One interesting footnote is that the song was produced by Bob Ezrin, and was his first project after finishing The Wall with Pink Floyd. Hey, if we were Ezrin at the time, we’d want a follow-up project as far from Roger Waters’ psychosis as possible, too.

As for the video, it was assembled by Kings guitarist Mister Zero, editing decades of footage of the band playing the song (including their lone appearance on “American Bandstand”) into one big video megamix. It took him over three years to assemble, and truthfully, we’re surprised it’s here; Zero told us that they were still fighting with Warner Music for permission to post it. Looks like common sense finally won out.

Friday Video – Mark Ronson, “The Bike Song”

The UK pop charts might be more forgiving than ours when it comes to inane novelty hits (two words: Crazy Frog), but by and large, the Brits have maintained their affection for melody. Most of the plastic American pop stars are eaten alive on their charts – they love American rock bands though, embracing the Pixies well before we did – while the ones who embrace the Beatles’ affinity for songwriting are handsomely rewarded. Who knows, maybe the real reason is more nationalist than this, that the UK population simply likes UK acts, but you have to admit that the Brits have a much greater love affair with pop in the classic sense of the word than we Yanks do, particularly today.

Which is why our video of the day has reached #17 on the UK pop charts, and doesn’t have a prayer of being a hit here. But that doesn’t make it any less awesome.

If you had told us that “The Bike Song,” from UK It Boy producer Mark Ronson, was a long-lost cover from some Nuggets-era band (think “Green Tambourine” by the Lemon Pipers), we would totally have believed you. (It was actually written by a Zuton and two members of the Dap Kings.) The song has an effortless sunniness to it and one of those instantly memorable choruses, marvelously sung by the View’s front man Kyle Falconer. Who are the View, you ask? They’re a Scottish band who were poised to ride the UK wave of the mid-’00s along with Hard Fi, Franz Ferdinand and the Arctic Monkeys, but Falconer was busted for possession, their US tour was canceled, and that was that. If you’re an Anglophile, though, go hunt down their song “Street Lights.” Good tune. Not as good as this one, but good just the same.

The video for this is a throwback, consisting mostly of Falconer and Ronson (that is Ronson with the blonde hair, right?), you guessed it, riding their bicycles. Spank Rock, who looks a bit like Mos Def’s geeky little brother, joins the fun, and then boom, three gorgeous girls on bicycles. That whole ’60s look…it makes us tingly. Have Friday, everyone. Good luck getting this one out of your head.


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Friday Video – Midnight Juggernauts, “Lara Versus the Savage Pack”

The Midnight Juggernauts are a strangely awesome Australian trio, melding big beats with progressive and psychedelic tinges, but smart enough to keep everything within a pop context. Their new album, The Crystal Axis, is a self-released effort, which would explain why it has less of the Daft Punk-ish thump that drove their 2008 debut Dystopia. It’s also a bit more challenging, opting for darker territory than they covered first time around. There is one standout upbeat pop moment, though, and it is the strangely titled “Lara Versus the Savage Pack.” Armed with one of those earworm keyboard riffs – this writer’s three-year-old son was singing the keyboard hook when the song recently played at dinner – and a positively explosive finale, “Lara Versus the Savage Pack” is the first song we’ve heard in years that made us want to go to a club just so we could dance to it with a hundred other people and watch them climb the walls at song’s end. Put on your dancing shoes, kids.

UPDATE: It figures that the week after I post this, the band finally releases the official video. So here it is.

Midnight Juggernauts – Lara Vs The Savage Pack from midnight juggernauts on Vimeo.

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