★★★ / ★★★★
Fifteen years ago, Lucie (Mylène Jampanoï) escaped an abandoned factory where she was tortured for reasons unknown. When she was placed in a facility which housed victims of child abuse, she was befriended by the kind Anna (Morjana Alaoui) despite Lucie’s much darker past and chilling visual hallucinations. Anna voluntarily took up the role of the Lucie’s crutch so she had to be the strong one. Eventually, Lucie made it her quest to hunt down the people responsible for her torment but that was simply the beginning. Although highly influenced by the “Saw” series, “Martyrs” was a stronger breed because the gore was amplified, the violence was more unflinching, and the questions it brought up about cruelty and human experimentation were actually interesting. The film had a Hitchcockian twist. Since Lucie was the survivor of the first scene, I assumed she would be the one we were supposed to follow throughout the picture. But as it went on, I started to doubt whether she was a particularly trustworthy protagonist because she didn’t have a full grasp with reality. Was the family she murdered in cold blood truly responsible for her kidnapping and torture? Then the film made an astute decision. Half-way through, it was revealed that this was Anna’s story as she had the unfortunate luck to go through what her best friend went through and then some. When she was taken in a torture chamber, there was a brilliant twenty to thirty minute interval when not a word was uttered. All we heard were sounds of a spoon scraping a metallic plate as a woman forcefully fed Anna some disgusting-looking green goop, a man landing heavy blows on Anna’s already frail body, and the sounds of scissors chewing through Anna’s hair as if it hadn’t been fed in years. It was very painful to watch but I was so curious as to why such cruelty was being done to her. When it was revealed, it felt inspired yet empty. It was inspired because I could not recall a villain that performed evil things for the same reason. It was nice that the mysterious individuals didn’t want their victims to learn a lesson or to value the life they’ve been given. At the same time, it was empty because the tormentors’ endgame was so subjective. I started asking questions like how they earned money to build such futuristic-looking facilities and machines. I had to laugh to myself a little bit. But perhaps it was a defense mechanism because I needed to process the very shocking images I just saw. Written and directed by Pascal Laugier, “Martyrs” is without a doubt not for people with a weak stomach. Meanwhile, fans of sadistic horror might be pleasantly surprised. I had no idea what I was in for. In the end, I felt a mixture of sadness, horror, and disgust. My body felt so weak, I couldn’t even make a proper fist.
Saw 3D (2010)
★ / ★★★★
In “Saw 3D,” written by Patrick Melton and Marcus Dunstan, the supposed final installment of the commercially (although not artistically) successful “Saw” franchise had three strands. First, Jill Tuck (Betsy Russell), Jigsaw’s wife, was on the run from Detective Mark Hoffman (Costas Mandylor) so she took refuge at a police station. In return for protection, she was willing to divulge information about the infamous murders. Meanwhile, Detective Matt Gibson (Chad Donella) was in charge of solving a new crop of grizzly murders. Unlike the ones before him, would he be lucky enough to survive? Lastly, Bobby Dagen (Sean Patrick Flanery) claimed to have been been kidnapped by Jigsaw (Tobin Bell) and was successful at escaping his famous traps designed to teach a macabre lesson through painful irony. He and his entourage benefited from his fame based on untrue information. When he was kidnapped, was he capable of living up to his promise? “Saw 3D” was an excellent example why the series should simply end. I found no redeeming quality in it because every other scene was a flashback to the other six “Saw” pictures. Flashbacks are normally used to enlighten its audiences, not drive us into further confusion (and frustration). When I read reviews from fans of the franchise, they claim that they love the movies because “everything is connected.” No, it’s not. Just because a flashback makes a reference to a one minute scene from another movie, it does not necessarily mean there is a strong connection between the two. Aside from the first “Saw” movie, the rest lacked logic. Somewhere in the middle the central theme was lost. The victims were led to believe that they could get out of the traps. In reality, the possibility of escape was zero. How can we root for the character if we know she’s doomed? But I digress. “Saw 3D,” directed by Kevin Greutert, was plagued with clichés. From the cops’ arrival three seconds prior to the gruesome kill to a foggy night when something bad would eventually happen, it was one disappointing scene after another. The only comfort I found was to laugh at the ridiculous situations the characters found themselves in. I particularly enjoyed the scene of the woman, equipped with a shrill voice and in charge of public relations, who had a fish hook (along with a key necessary for her escape) stuck in her stomach and Bobby, using a string, had to pull it out of her mouth. It was bloody, flinch-inducing, grimly ironic, and fun to watch. Throughout the years, the franchise earned the label of “torture porn.” I thought it was appropriate. The acting was as bad as the ones seen in the very best pornographic films. I had to wonder where the casting directors found the actors. Maybe the actors knew the material was egregious but they just needed a big break. Who could blame them?