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Somewhere within the Saw universe’s ridiculously convoluted back story is a film showing how the dying “Jigsaw Killer” John Kramer (Tobin Bell) won the lottery, set up corporate offices, and hired legions of worker elves to build a “torture district” the size of Disneyland. It would be a helluva lot more entertaining than watching his uber-secret second protégé (Mandylor, Mandylor, Costas Mandylor) tiptoe around the events of the previous films, which was all that the abysmal Saw V had to offer.



But if you can suspend your disbelief and get over the standard “cover-our-tracks flashbacks,” Saw VI will satisfy all your blood cravings. Not only does this entry get the series back on track, it’s also the most engaging and well crafted entry to date. No kidding.



With slick, confident direction by series editor Kevin Greutert and a smart script by Marcus Dunstan and Patrick Melton, Saw VI plays out like Michael Moore’s House of Horrors. Targeting the controversial U.S. health care method, Jigsaw’s game incorporates all the players of the greedy insurance company that denied him the coverage that would have spared his life from cancer. It’s a provocative concept, for the sixth entry in a deteriorating franchise, but the bet pays off in the finish. This slant makes Saw’s signature traps and moral dilemmas more crooked and topical than ever before.