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Directed by | |||
| Darren Lynn Bousman | |||
Writing credits | ||
| Leigh Whannell | (story) and | |
| James Wan | (story) | |
| Leigh Whannell | (screenplay) | |
Produced by | |||
| Troy Begnaud | .... | associate producer | |
| Peter Block | .... | executive producer | |
| Mark Burg | .... | producer | |
| Jason Constantine | .... | executive producer | |
| Greg Copeland | .... | co-producer | |
| Daniel J. Heffner | .... | executive producer (as Daniel Jason Heffner) | |
| Gregg Hoffman | .... | producer | |
| Oren Koules | .... | producer | |
| Stacey Testro | .... | executive producer | |
| James Wan | .... | executive producer | |
| Leigh Whannell | .... | executive producer | |
Original Music by | |||
| Charlie Clouser | |||
Cinematography by | |||
| David A. Armstrong | (director of photography) | ||
Film Editing by | |||
| Kevin Greutert | |||
Casting by | |||
| Stephanie Gorin | |||
Production Design by | |||
| David Hackl | |||
Art Direction by | |||
| Anthony A. Ianni | |||
Set Decoration by | |||
| Liesl Deslauriers | |||
Costume Design by | |||
| Alex Kavanagh | |||
Makeup Department | |||
| Rachel Affolter | .... | assistant makeup artist | |
| Damon Bishop | .... | prosthetics assistant | |
| Chris Bridges | .... | prosthetics assistant | |
| Pamela Mills Byer | .... | assistant hair stylist (as Pamela Mills) | |
| François Dagenais | .... | prosthetics makeup (as Francois Dagenais) | |
| Sarah Fairbairn | .... | key makeup artist | |
| Kyle Glencross | .... | prosthetics assistant | |
| Stephanie Ingram | .... | key hair stylist | |
| Neil Morrill | .... | prosthetics assistant (as Neil Morril) | |
Production Management | |||
| Greg Copeland | .... | production manager | |
Art Department | |||
| Sam Agro | .... | storyboard artist | |
| Jeff Burden | .... | carpenter | |
| Carlo Cesta | .... | painter | |
| Steven Ciancamerla | .... | set dresser | |
| Frank Croft | .... | painter | |
| Jeff Flint | .... | carpenter (as Geoff Flint) | |
| Dwight Hendrickson | .... | set designer | |
| Grant Kilroy | .... | carpenter | |
| Takashi Komai | .... | carpenter | |
| Sylvia Lange | .... | painter | |
| Ron Lightfoot | .... | construction coordinator | |
| Jason Lunn | .... | set dresser | |
| Mario Moreira | .... | assistant property master | |
| James R. Murray | .... | property master | |
| Monique Roy | .... | set buyer | |
| Sean Scoffield | .... | graphic designer | |
| Adam Smith | .... | specialty prop fabricator | |
| Cherie Spencer | .... | set dresser | |
| Ercidio Tamayo | .... | painter | |
| Richelle Wilks | .... | art department trainee | |
| Michael Zaharuk | .... | painter | |
| Anthony Pearce | .... | conceptual illustrator (uncredited) | |
Sound Department | |||
| Steve Baine | .... | foley artist | |
| Jeremy Balko | .... | adr mixer | |
| Tom Bjelic | .... | sound effects editor | |
| Keith Elliott | .... | sound re-recording mixer | |
| Mark Gingras | .... | sound designer | |
| Jamie Gould | .... | sound re-recording assistant | |
| Gina Gyles | .... | foley assistant | |
| Jamie Lucas | .... | re-recording assistant | |
| Matthew McKenzie | .... | adr recordist | |
| Colin McLellan | .... | adr recordist | |
| Rick Penn | .... | sound mixer | |
| Jason Perreira | .... | sound re-recording assistant | |
| Peter Persaud | .... | foley recordist | |
| John Douglas Smith | .... | supervising sound editor | |
| Andrew Tay | .... | sound re-recording mixer | |
| Marilee Yorston | .... | foley assistant | |
| Mark Zsifkovits | .... | sound re-recording mixer | |
Special Effects by | |||
| Damon Bishop | .... | special effects crew | |
| Derek Bujalski | .... | special effects technician | |
| Tim Good | .... | special effects coordinator | |
| A. Scott Hamilton | .... | pigs | |
| Maya Kulenovic | .... | pigs | |
Visual Effects by | |||
| David Alexander | .... | senior CGI artist: Switch VFX | |
| Don Asido | .... | data manager: Switch VFX | |
| Jon Campfens | .... | visual effects supervisor | |
| Peter Denomme | .... | visual effects producer: Switch VFX | |
| Amir Eftekhari | .... | digital compositor: Switch VFX | |
| Amir Eftekhari | .... | matte painter: Switch VFX | |
| Genevieve Forte | .... | digital artist | |
| Gudrun Heinze | .... | senior digital artist: Switch VFX | |
| Dan Kelly | .... | creative director | |
| Louis Kim | .... | digital compositor: Switch VFX | |
| Jef Lonn | .... | digital compositor: Switch VFX | |
| Mag Sarnowska | .... | dustbuster | |
| Antonio Torres | .... | digital artist: Pacific Title | |
| Geoff Wigmore | .... | digital compositor: Switch VFX | |
Stunts | |||
| C.J. Fidler | .... | stunt double: Lynn (as C.J. Lusby) | |
| Cotton Mather | .... | stunt double: Jeff | |
| Alison Reid | .... | stunt coordinator | |
| Alison Reid | .... | stunt double: Amanda | |
| Bryan Renfro | .... | stunt double: Judge Halden | |
Camera and Electrical Department | |||
| Eric Beaulieu | .... | second assistant camera | |
| Ira Cohen | .... | gaffer | |
| Robert Dias | .... | electrician | |
| Jim Docouto | .... | electrician | |
| Brian Gedge | .... | camera operator | |
| Kevin Michael LeBlanc | .... | first assistant camera | |
| Robin Lopes | .... | grip | |
| Paolo Perin | .... | best boy grip | |
| David Perkins | .... | camera operator: "b" camera | |
| Ronald Schlueter | .... | playback operator | |
| Jeremy Settles | .... | camera operator: segments | |
| Darren Spriet | .... | second assistant camera: "b" camera | |
| Christopher J. Toudy | .... | key grip | |
| Steve Wilkie | .... | still photographer | |
| Jordan Willoughby | .... | camera trainee | |
| Ramesh Yogendran | .... | electrician | |
Casting Department | |||
| Kathleen Howell | .... | casting associate | |
| Misha Rasaiah | .... | casting assistant | |
| Jane Rogers | .... | extras casting | |
| Karen Williams | .... | casting associate | |
Costume and Wardrobe Department | |||
| Karen Eppstadt | .... | key costume breakdown artist | |
| Les Handrahan | .... | costumer | |
| Leslie Kavanagh | .... | wardrobe set supervisor | |
| Stephanie Lees | .... | assistant costume designer | |
Editorial Department | |||
| Diane Brunjes | .... | first assistant editor | |
| Nick Iannelli | .... | digital intermediate producer | |
| Tom Mayclim | .... | negative cutter | |
| Arthur Montreuil | .... | color timer | |
| Dave Muscat | .... | assistant digital intermediate editor | |
| Chris Wallace | .... | digital intermediate colorist | |
| James Yazbeck | .... | telecine suite operator | |
| Motassem Younes | .... | digital intermediate editor | |
Music Department | |||
| Leo Busuttil | .... | musician | |
| Peter Freeman | .... | music designer | |
| Paul Intson | .... | music editor | |
| Jim Kaufman | .... | soundtrack music | |
| Yvonne McDonald | .... | music clearances | |
Other crew | |||
| Adam Bialow | .... | business affairs | |
| Lisa Burling | .... | script supervisor | |
| Chad Cole | .... | assistant: Mark Burg & Oren Koules | |
| Cristin L. Cornett | .... | production coordinator | |
| Kym Crepin | .... | production accountant | |
| Ryan Eldridge | .... | production assistant | |
| Yon Elvira | .... | supervisor of assets and unit publicity: Lionsgate | |
| Lisa Gyorfi | .... | assistant production coordinator | |
| Kaleigh Kavanagh | .... | assistant to executive producer | |
| Daniel Hugh Kelly | .... | title designer | |
| Jane Kim | .... | assistant: Darren Bousman | |
| Steven Lewis | .... | production attorney | |
| Dahla MacKenna | .... | educational supervisor | |
| Ashleigh Millar | .... | craft service | |
| Tracy Mulholland | .... | acquisition | |
| Pete Nilson | .... | caterer | |
| Sat Sidhu | .... | on-set tutor | |
| Carla Spizziri | .... | first assistant accountant | |
| Al Vrkljan | .... | armorer | |
| Kris Wood | .... | playback coordinator | |
Thanks | |||
| Gregg Hoffman | .... | dedicatee | |
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| Saw IV | Hostel | Rambo | Saw | Saw II |
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Surprise! There is a horror series that holds up well, even on the second sequel.
It's difficult to explain the plot in any detail without ruining the storyline, so instead, I give you small chunks. A doctor must keep Jigsaw alive. If he dies, so does she. A grieving father must decided what he will do when confronted with the people that changed his life for the worse. Saying anything else about the story line is just criminal.
Like the 2 movies before it, difficult decisions and some nasty secrets become a part of a much larger plan. It manages to explain events in Saw 1 and 2 that may have been considered plot holes. It spins the whole concept of the Jigsaw character and what he represents, and the message he is trying to say. By carefully placing events from the past in a certain order, and by introducing important sequences of the character's lives, Saw 3 manages to become a pivotal point to the series. It's not perfect, though. Constant flashbacks to memories becomes a bit tiresome. Some of the dialog could be a combination of dry, repetitive, or dumb, or all of the above. And oh yes, there will be the improbable & illogical. Big critics will focus on this, and consider the movie a waste of time.
Of course, you can toss out the psychological-babble, tell the critics to go back to their coke snorting, and just have fun watching the movie as pure horror. Of the three, this is ultimately the most bloodiest. Those of low tolerance of gore, medical procedures and general dismemberment beware: the movie theater I went to here in Winter Springs had one movie-goer faint and fall to the floor. They had to temporarily stop the movie and take her outside, an ambulance came, and took her away. Even with this interruption, the movie kept everyone awake, wanting to see more. By the end of the movie, the audience clapped. We liked what we had seen. "What has the world come to?", you say? Geez. You are in the wrong place. I'm sure there will be some Disney movie to your liking.
The traps were clever, original, and far, far deadlier this time around. To me, it beats out any psycho with a knife/ax/chainsaw crap movie that has been pumped out too many times. It's a shame that Saw producer Gregg Hoffman passed away before this movie was produced.