Even after death, Jigsaw's game has just begun. Saw IV (2007) Directed by: Darren Lynn Bousman Screenplay by: Patrick Melton & Marcus Dunstan Starring: Tobin Bell, Scott Peterson, Costas Mandylor, Betsy Russel, Lyriq Bent Running time: 92 minutes Rating: R18+ This review contains spoilers. The fourth instalment in the long-running horror series,  Saw IV  (2007), is a grim continuation that expands the franchise's lore. While it deepens the mythology and ups the ante on its classic traps, I fear you may need a master's degree to follow the storyline.  Picking up immediately after the death of John Kramer (Jigsaw), the film follows Detective Rigg, who becomes the next test subject meant to teach him to let go of his need to save others. Meanwhile, FBI agents continue to investigate how the games are carried on without Jigsaw, leading to more twists, flashbacks and revelations about Kramer's backstory.  The film leans heavily into interconnecting the narratives between Saw II and Saw III, which will satisfy dedicated fans but may confuse casual viewers. The timeline continuously jumps and the characters overlap, creating a web of plotlines that demands close attention. The increasingly complex lore gives Saw IV a sense of ambition rarely seen in slasher franchises; however, it wasn't until my third watch of this film that I fully understood what was being presented. As expected, the traps are inventive and grotesque. That said, they felt fairly rushed. Instead of Saw's usual drawn-out sequences and impressive camera work, the scenes were over quickly—which I'm sure some people would appreciate—but it didn't bring the iconic "live or die" feeling that Saw usually provides. While the violence is intense, the traps this time around serve as a narrative function to push the film's philosophy. It's refreshing to see a new type of people in thetraps, rapists and sex traffickers, rather than desperate people in tough situations.  Even in death, John Kramer remains a compelling presence. His performance in flashbacks adds depth to his morally corrupt character, and the audience finally gets to see the reason that began his twisted ideology, humanising the killer in surprising ways. Unfortunately, other characters, such as Rigg, feel underdeveloped and more like a useful plot point than a purposeful one. Saw IV is best appreciated as a piece of a large puzzle rather than a standalone horror film. For fans, it's a crucial chapter that ties up loose ends and reveals a shocking twist. For others, it's a bloody maze that may not be worth the effort. Rating: ★★ ☆☆☆

Two backpackers check into a hostel with no idea what hell awaits them. Hold onto your eyeballs. Hostel (2005) Directed by: Eli Roth Written by: Eli Roth Starring: Jay Hernandez, Derek Richardson and Rick Hoffman Running time: 94 minutes Rating: R18+ This review contains spoilers. The early 2000s saw a rising trend of “torture porn” horror films following the release of Saw , and Eli Roth’s Hostel  (2005) was no ex ception. Often regarded as a “cousin” to Saw , Hostel embodies the genre’s focus on graphic depictions of pain and suffering. The term "torture porn”, coined by critic David Edelstein, refers to a subgenre of body horror that emphasises visceral violence while often highlighting themes of power and abuse. For its time, Hostel  pushed the boundaries of what audiences expected from horror films, but does its reputation still hold up today, or has its shock value worn off over time? Hostel  tells the story of two American backpackers, Paxton (Jay Hernandez) and Josh (Derek Richardson), who, like many other 20-something-year-olds, are travelling across Europe. Af ter hearing about a hostel in Slovakia where young women can be found in abundance, they decide to visit. When things start to take a dark turn, Paxton and Josh realise the hostel is part of a twisted underground auction where wealthy individuals can pay to torture and kill tourists. Worst still, the entire town of Bratislava is complicit in the operation. A great deal of the first act is devoted to developing the protagonists, who are somewhat naïve and underdeveloped, which can make the pacing feel sluggish. However, once Josh is caught and the brutal scene involving the slashing of his Achilles tendon unfolds, the film shifts into high gear. Suddenly, the audience wishes they had spent more time with the duo in blissful ignorance. Roth’s decision to remove of the leads is a clever horror tactic, reinforcing the “no one is safe” mentality. Roth taps into the very real fear of being a foreigner in a strange place, unsure of who can be trusted. The film capitalises on this unease, making every seemingly friendly face a potential threat. Throughout, Roth spoon-feeds the true nature of the hostel and its operators, expertly maintaining tension and keeping viewers on the edge of their seats. The performances are solid, particularly from Jay Hernandez, who is the film’s emotional anchor. In most horror films, viewers often find themselves screaming at the screen, begging the protagonist not to make certain decisions. In Hostel , the refreshing portrayal of Paxton makes smart, non-frustrating choices, which makes his transformation from a carefree traveller to a desperate survivor all the more compelling. The supporting cast play their roles well, with Rick Hoffman standing out as a prime example of power and abuse of status.   Hostel  is not for the faint of heart, but it certainly is memorable. The brutality that unfolds is graphic and grotesque, and while some may argue that it is gratuitous, for fans of the genre, it serves its purpose: to shock and disturb. One of the film’s strengths is its ability to build tension before each horrific event. Roth avoids relying on jump scares and instead lets the horror simmer, only revealing its full form at the most devastating moments. A particularly unforgettable moment is the scene where Kana (Jennifer Lim) has part of her face burned off with a blowtorch, leading to Paxton cutting the stem of her eyeball out of her face. What truly sets the film apart is its portrayal of the antagonists’ motivations. Though the film’s depiction of Eastern Europe as a breeding ground for horror may feel problematic to some, it undeniably heightens the sense of danger. Roth’s film engages the audience on a cognitive and emotional level. When viewers are immersed in the unsettling atmosphere, they can’t help but mirror the characters’ experiences, almost physically feeling their pain. If by the end of the film your Achilles heel or eyeballs aren’t aching, you’re probably watching the wrong genre. Despite its disturbing nature, Hostel  has a certain elegance in it examination of power dynamics. The film subtly explores themes of misogyny and homophobia, but the most poignant commentary lies in its portrayal of the abuse of power. The idea that travellers are nobodies in a foreign land adds a chilling layer that I’m sure many viewers can relate to their own travel stories. If you’re seeking for a movie with a strong moral message away from blood and gore, Hostel may leave you feeling unsatisfied and traumatised. However, if you’re interested in a film that pushes boundaries and explores the darkest corners of human nature, it’s a must-watch. Not only does it remain relevant 20 years later, but it also paved the way for many horror films of its kind, making it a steady cult classic.   Rating: ★★★★★ Through its eerie setting and bold brutality, hostel takes you on an unsettling ride that will leave an impression.