TV on DVD: Dexter (The Complete Fourth Season)

Writer/Producer: James Manos, Jr. 
Starring: Michael C. Hall, Jennifer Carpenter, Desmond Harrington, Lauren Velez, David Zayas, C.S. Lee, James Remar, Julie Benz, John Lithgow, Keith Carradine, Courtney Ford
Original Air Date: 2009

★★★★ (out of ★★★★)

What a comeback this is. After Dexter's mediocre third season in which the writers seemed to hit a brick wall and nothing much of interest occurred, they've come out this time with guns blazing, as the best show currently on television has now officially aired its strongest season yet. In terms of pure edge-of-your-seat drama it's unmatched and what's so surprising is that it comes just as you'd think the well of ideas would start to run dry for its intriguing premise. Some of the little (and they were only little) nagging issues that plagued the show through the course of its run are completely eliminated by inventive writing and performances that are firing on all cylinders. 

While the season doesn't feel as meticulously plotted as the first and second, that works to its advantage since a break from the familiar structure was definitely called for. We were due for some surprises and got them. Going in, I heard a lot about John Lithgow's guest starring turn that justifiably won him an Emmy, but nothing could have prepared me for just how astonishing he is here. It's tempting to give him full credit for this season's success (and don't get me wrong he's a HUGE part of it) but doing that undermines the writers and other actors who  all greatly contributed to these 12 game-changing episodes.

It's inaccurate to claim the fourth season picks up where the third left off since nothing of substance in happened. With little fallout to speak of, what's interesting about this season is how it brilliantly fleshes out an idea that was only grazed upon then relegated to buddy comedy fodder in the last one. The idea of someone entering the picture that forces Miami Metro blood spatter analyst Dexter Morgan (Michael C. Hall) to really examine the practicality of continuing his secret life as a serial killer of murderers in spite of how the lying has so hugely effected his relationship with wife Rita (Julie Benz). Now with a new baby boy, Dexter is tempted more than ever to finally rid himself of "The Dark Passenger" he's been carrying inside since he and his little brother witnessed their mother's death as children. Continuing on like this is risky not only for himself, but his family, who he selfishly continues to endanger at the expense of his addiction. 

The return of now retired FBI Special Agent Frank Lundy (Season 2 guest star Keith Carradine) sets in motion a chain of events that forces Dexter to make that choice between his two lives. Lundy is back in Miami hunting the previously unidentified "Trinity Killer," AKA Arthur Mitchell (Lithgow) a serial murderer who's been killing in patterns of threes for 30 years in an effort to cleanse himself of a childhood trauma similar to Dexter's. Unlike Jimmy Smits' Miguel Prado, who infiltrated Dex's world last season, Arthur is a serious, dangerous threat who's every bit his match, even more ritualistic and capable of completely destroying him. And very much unlike last season when we knew exactly how everything would end, there are twists and turns, as well as legitimate doubt whether Dexter will even be able to get this monster on his table by the finale.

Upon hearing the long underrated Lithgow was cast for this season I knew there was little chance it would turn out to be anything but an enormous success given his track record. A veteran stage and screen actor widely known for his comic skills (racking up a handful of Emmys on 3rd Rock From The Sun), he's rarely been given the right opportunity to display how equally effective he can be in dramatic roles.  In a terrifying turn that alternates between massive mood swings, he's essentially balancing two separate personalities. One is church-going family man Arthur Mitchell, who spends his free time building houses for a Habitat for Humanity type projects across the country and cringes at the sight of a hurt animal. The other is the "Trinity Killer," a sadistic monster so mentally ill and unstable that's he's actually convinced he's murdering innocent people for the greater good. Just juggling these polar opposite personas would be tricky enough for any performer but Lithgow effectively merges them and the scenes where he physically and emotionally terrorizes his own family are so harshly realistic it's difficult to watch. Your heart's in your throat knowing he really could pass for that friendly guy you chatted up at church last week, or worse yet, your neighbor.

The quest to put Trinity down for good becomes personal for Dexter on a number of levels, but with it comes the horrifying realization that Arthur's future could be his if he continues down his current path. Hallucinations and flashbacks of his deceased father Harry (James Remar) and reminders of his "code" have been prevalent throughout the series' run but this is the most mileage they've got out of it yet as it practically feels like he's on the case with his son, guiding his conscience. Once again viewers are put in an uncomfortable spot, having to ask themselves whether Dexter really is any better than the scum he's killing, even though he clearly wants to be. 

It bares mentioning every season how incredible Michael C. Hall is in the title role but sometimes he can be so convincing I annoyingly catch myself wishing Rita would just stop nagging Dexter and let the poor guy lead his life. That is until I remember he's out every night.... murdering people! To an extent, I can actually sympathize with television watch groups complaining that the show condones vigilantism and violence, but fortunately that doesn't make the writing on the show or Hall's work any less brilliant. Disturbingly, it only confirms the show has done its job and it should be up to the viewer to sort out what's right and wrong.

Unlike Dexter's silly bromance with Prado last season, his friendship with Arthur is practically a suicide mission and it was a relief to see the Miami Metro police department portrayed as competent law officials that Dexter again must stay a step ahead of to cover his tracks. As Deb, Jennifer Carpenter delivers her best acting work yet in the series, conveying a mix of toughness and vulnerability as she's forced to recover from another jarring personal tragedy. Carradine's stay as Lundy is shorter this time around but maybe more important as the character continues to make an impact long after he's gone. 

Given their track record last season, it's hard not to cringe when the writers embark on a romantic sub-plot involving LaGuerta (Lauren Velez) and Batista (David Zayas) but it's surprisingly well handled and isn't treated as the throwaway storyline you'd expect. Detective Joey Quinn (Desmond Harrington, now a regular) not only sparks a feud with Dexter but begins a relationship with investigative reporter Christine Hill (guest star Courtney Ford) that doesn't go where we expect at all. At first, Ford's role doesn't seem like much to start but as it evolves into something a lot more complex and challenging, she steps up and delivers in a big way. Of everyone, her multi-dimensional performance is most at risk of being unjustly overlooked amidst the deserved hype of Lithgow's, and it's almost impossible to believe that before landing this gig Ford was actually about to quit acting. It's a good thing she didn't, as she shouldn't have any problems finding work now.

As strong as the series' first two seasons were, the only problem was that their story arcs concluded about an episode too early and things were always tied up a little too neatly right before the finales. Here, you're feeling the tension and suspense right up until the unforgettable closing image. Though the shocking conclusion to this season was spoiled for me beforehand, the best news is that there actually is a shocking conclusion and a real cliffhanger that forces you to tune in for Season 5. This was a  long overdue development, and now that they've gone through with it, a whole new set of possibilities have opened up for the series. In many ways this season of Dexter brings the show full circle, ending almost exactly as its premiere began, and what happens next is anyone's guess.

TV on DVD: Dexter (The Complete Third Season)

Creator: James Manos, Jr. Starring: Michael C. Hall, Julie Benz, Jennifer Carpenter, C.S. Lee, Lauren Velez, David Zayas, James Remar, Desmond Harrington, Jimmy Smits Original Airdate: 2008 ★★★ (out of ★★★★) If the third season of Dexter had a subtitle it would be, I Love You, Man, as the show spends the majority of its time focusing on a bromance. Taking an approach that's starting to become popular among serialized dramas, a guest star literally takes over the season and though the actor in the role gives a performance that warrants such attention, the writing isn't quite there to support it. Of the Dexter's three seasons, this one's by far the weakest (or let's just say the least best) and for the first time the previously flawless series starts to show some chinks in its armor. There are definitely some issues with it, almost as if the writers decided to take an extended lunch break and let the actors make up for many of the creative lapses in judgment. A huge risk is taken in allowing a new character full access into Dexter's twisted world and exposing his secret, deviating from the template of the previous two seasons and making it feel like a completely different show. This does make for some compelling viewing but unfortunately also ensures the season can only end one way, robbing the series of much needed suspense. In stark contrast to season 2 where viewers were on pins and needles wondering what would happen next, this time it's hard to believe Dexter would meet any kind of physical harm or his crimes are in danger of being exposed to those closest to him. Also not helping is the promotion of certain supporting characters to more prominent roles that are sloppily developed, specifically two jokes for authority figures. It's tough rationalizing that they'd be in charge of any investigation, even this weaker season-long case that seems lifted from CSI:Miami. But while this is clearly a steep decline in quality from the previous seasons, viewed in context it's still probably better than most of what's on TV these days. It just entertains more as a buddy sitcom than the gripping drama we've been spoiled with. After narrowly avoiding being uncovered as the "Bay Harbor Butcher" last season, Miami's Metro's blood splatter expert and part-time serial killer Dexter Morgan (Hall) is caught in another mess this time after accidentally killing an innocent man while hunting down a drug dealer. Even worse, this innocent victim just so happens to be the younger brother of hotshot Assistant D.A. Miguel Prado (guest star Jimmy Smits). In trying to gain Miguel's trust and keep any suspicion off himself, Dexter does too good a job, unintentionally making himself a new best friend and killing partner. Initially reluctant, Dex starts to warm to the idea of letting him see his "dark side" and Miguel soon becomes fully immersed in his brutal world. Of course, the major problem is the hot-headed, selfish Miguel doesn't play by the same rules, has no idea how to cover his tracks and is merely using murder as a means to clean up his grudges. It's a given Miguel will start to go into business for himself and possibly drag Dexter down with him. A predictable collision course is set from the very first episode of this season, which places heavy emphasis on the necessity of the "code" passed to Dexter from his father, Harry (James Remar). This doesn't register at all for Miguel, a control freak who's just primarily interested in eliminating people he doesn't like, whether they actually killed anyone or not. The fun in this main story arc comes from seeing the relationship between the two develop and weigh on Dexter's conscience, making him question his purpose. In almost a comic way Miguel comes off as that annoying friend you're not sure if you want to get rid of, and if you are, you still don't know how you'd do it. Except Dexter usually doesn't have any problems with that last part. The storyline works but it isn't suspenseful in the least because we know where it has to go and even the exact path it'll take to get there. Smits is fantastic in the role but you almost get the impression it was all for nothing right from the start, almost like his character was merely an entertaining placeholder to keep us occupied until the fourth season. Miguel being written as such a goof likely hurt Smits' Emmy chances as well because even when he brings the dramatic firepower, you can't help but laugh at the character's actions. That couldn't have been the intention, at least not all of the time. 

The "Skinner" case Miami Metro is investigating that's tied to the murder of Miguel's brother isn't all that intriguing mainly because Dexter isn't as personally connected to it as he was the Butcher case last season. Of course, that case was directly focused on his crimes as his entire life and career hanged in the balance. To make up for this they've concocted a myriad of sub-plots for supporting characters and some of them are really silly, walking a thin line between drama and soap opera. Lt. Maria La Guerta (Lauren Velez) is front and center this season, once again making overly emotional decisions based on personal feelings that would get any law enforcement official anywhere fired from their jobs in a heartbeat. Along for the ride is Angel Batista (David Zayas), now inexplicably promoted to Sergeant after last being seen turning in his badge due to rape charges. He's given a ridiculous storyline involving prostitution that's truly the low point of the whole season. Velez and Zayas are strong actors and technically earned the increased face time they received but the writers saddle their characters with so much baggage and personal issues that they're just not credible as leads of a criminal investigation. As a result, Dexter is never in danger of being found out. It's a good thing for characters to have insecurities and vulnerabilities but give them too many and they start to become a joke. You really feel the absence of Keith Carradine's Agent Lundy, an investigator at Dexter's intellectual level who pushed him further than anyone had last season and was much more believable as the lead of a major investigation. That he's set to return in the fourth season is very good news and couldn't come sooner. Dexter's sister, Deb (Jennifer Carpenter) also comes off weaker (and whiny) this go around and the possibility of her being promoted to detective seems truly horrifying given the number of laws she's broken and how often her temper gets in the way. Her romantic entanglement with an informant feels tacked on by the writers rather than earned and is a far cry from the more interesting relationship she was involved in last season, when Carpenter was coming off her best work in the role. The addition of Desmond Harrington to the cast as Deb's new partner, Joey Quinn is a good one that creates a fresh dynamic, even if his subplot and back story is dropped just as quickly as it's introduced. But no one has it worse than Julie Benz as Rita, who's reduced to basically just picking out wedding dresses. Unlike last season when they were both being ripped apart by Dexter's double life, there's no real conflict between them and I'm starting to think Rita may have run her course as a character. With her marrying Dexter and a baby on the way I'm just not sure what else can be done with her at this point that we haven't seen already. If the problems seem slightly worse than they are it's only because the bar was set so high by the writers with the first two seasons that it was almost inevitable they wouldn't be able to maintain that kind of momentum. Still, the show rarely fails to engage, while still featuring some of the best acting on TV from Hall, who doesn't let you forget this is all about Dexter fighting his dark impulses. To that end, the bond between him and Miguel serves its purpose, even if the season as a whole lacks the suspense and cohesion present in the previous two. On the bright side, this does seem like it's just a lull so I wouldn't be surprised if the series rebounds from it fairly quickly provided the writers fix some of the nagging issues with the supporting characters and center the action around another case that pushes Dexter over the edge. The arrival of John Lithgow as a guest star in Season 4 could be a return to that, as just on paper the idea of that actor as a serial killer seems like it should be a guaranteed success and hopefully breathe some new life into the series. In the meantime, Dexter's third season works only as an entertaining diversion.

TV on DVD: Dexter (The Complete Second Season)

Creator: James Manos, Jr. Starring: Michael C. Hall, Julie Benz, Jennifer Carpenter, Erik King, C.S. Lee, Lauren Velez, James Remar, David Zayas, Keith Carradine, Jaime Murray Original Airdate: 2007 ★★★★ (out of ★★★★) Frequently referred to as the "best show on television," I caught my first glimpse of Showtime's Dexter when an edited version of its first season aired on CBS two years ago. After discovering that moniker wasn't far off the mark, more time passed than I'd like before I was finally able to catch up with the second. But boy was it worth the wait as this is one of those rare instances where a sophomore season is not only superior to the first, but superior by a decent margin, taking everything that worked so perfectly before and raising the stakes. It helps that it's built around a premise that's basically a lightning rod for suspense, putting the audience in the brutally uncomfortable position of viewing a serial killer as a functional member of society with rational thoughts and feelings who (at least by his standards) abides by a strict moral code. His name is Dexter Morgan and he's a forensic blood spatter analyst for the Miami Metro Police department who only kills other killers, though you could argue the true victims are his friends in the family who remain in the dark about his secret life. The actor responsible for making this show such a thrilling experience is Emmy Award winner Michael C. Hall, who plays Dexter with a mixture of humor, sympathy and rage. Dexter's meticulous approach to both his real job and secret one, make him an expert at covering his tracks, but this is the season where he starts to starts to get sloppy. So sloppy and stupid that for the first time he's in legitimate danger of being uncovered and you wonder episode by episode how he'll get himself out of this enormous mess. The hunter now becomes the hunted as Dexter's walls start to close in on him. The first season introduced us to this character's double life, but this is the season when they actually collide. With Dexter still torn up with regret over murdering the one person he thought truly understood him (his biological brother a.k.a "The Ice Truck Killer") in order to save his sister, Debra (Jennifer Carpenter), he starts the season a shell of his former self, seemingly unable to kill again. As expected, that attack of conscience doesn't last long as his department starts uncovering the dismembered bodies of murderers he's been throwing in the bay in trash bags and he has to deflect their investigation and the evidence away from himself. Now dubbed (none too flatteringly) the "Bay Harbor Butcher," Dexter is still wrestling with inner demons, like his complicated relationship with his late foster father, Harry (James Remar, seen in flashbacks) and his desire to be solid provider for loyal girlfriend, Rita (Julie Benz) and her two children. At her urging and to curb suspicion of his true addiction, he enters a 12-step narcotics anonymous program where he strikes up a dangerous relationship with his sponsor, the flirtatious but psychologically unstable Lila (guest star Jaime Murray). This and the Butcher investigation led by FBI Special Agent Frank Lundy (guest star Keith Carradine) is the driving force behind all the action this season. The moral question of Dexter killing only killers (more to fulfill an insatiable appetite than provide a public service) was grazed upon in the inaugural season but here every facet of that dilemma is exploited to its fullest potential. Hall is an expert at conveying this conflict, betraying neither end of the character's complicated emotional spectrum and subtly conveying dry humor with his observant, deadpan voiceovers sprinkled throughout the show. As the authorities inch closer to linking Dexter to the crimes we finally get to see the public reaction and fallout to what he's done, which ranges from full fledged disgust to hero worship (directly alluded to in the episode, "The Dark Defender" where Dexter imagines himself as a masked superhero). Of course, the irony of that image is that by leading this double life he's hurting those closest to him, who like himself are in law enforcement to stop the kind of vigilante justice he's dishing out by playing judge, jury and executioner. That his colleagues Lt. Maria LaGuerta (Lauren Velez) and only true "friend" Det. Angel Batista (David Zayas) now know the crimes and are rapidly closing in on a suspect, wrecks havoc on Dexter's psyche, in addition to escalating his long-standing feud with the perpetually pissed off and suspicious Sgt. James Doakes (Erik King), the man who's come closest to discovering his secret. Nearly all the supporting characters are given much more to do this season as a result of the case being intrinsically tied to Dex's crimes and the actors playing more than rise to the occasion. I gained a greater appreciation for what Benz brings to the table as Rita, a role that can initially come off as just the dry, dutiful girlfriend, but as the stakes rise and Dexter's two worlds clash, you realize it's her sweet, innocent portrayal that's causing much of the show's push and pull tension throughout the season. As viewers, we can handle Dexter being found out and punished for his crimes, but what it would do to her and the kids is where the emotional line is drawn. 

Carpenter does her best work in the series so far as Deb, still psychologically reeling from the events of last season but given a really well thought-out sub-plot that follows up on that vulnerability. It's developed so fluidly that you don't realize how well the seeds were planted for her storyline by the writers all along. In their guest starring turns, Murray's very pale and very British Lila is deviously entertaining and the perfect female counterpart to the "dark side" of Dexter, but it's Carradine as Agent Lundy who steals the spotlight as the kind of smartly written authority figure that's increasingly hard to come by in serialized crime dramas. Someone who's simply great at their job, wanting to lead in the calmest, most efficient way possible instead of just blowing smoke and barking orders. Carradine makes the wise choice of playing him as a regular guy, who just so happens to be in charge of a manhunt for a serial killer. There's a good chance not even Dexter has the tactical skills necessary to out maneuver him. If there's a drawback to the season it's that it's so suspenseful and builds so much momentum that by the time we reach the finale it's almost impossible to deliver a payoff that could clear the ridiculously high bar the series' creators set for themselves. As a result, the action peaks slightly too early and much of the last episode is spent trying to tie up loose ends. But that's a small complaint as it concludes pretty much the only way it can considering the show still has to continue after this. As revelatory as Hall's demented Jekyll and Hyde performance is in the title role, an overlooked star is the show's musical score (composed by Rolfe Kent) and opening title sequence, which in a few short shots brilliantly encapsulates the protagonist's lifestyle. It's somewhat ironic that the premiere season based entirely on Jeff Lindsay's 2004 novel, Darkly Dreaming Dexter isn't as strong as this one which veers from the source material, taking only the inspiration from the Dexter novels to craft an original season-long storyline arc. While its first season was perfect, this one's even better, and it'll be extremely difficult for the writers to top it (though I've heard Season 4, featuring John Lithgow's Emmy-winning performance, comes close). Given the current state of movies, it's no wonder actors are lining up to appear on something like Dexter, which is smarter and more gripping than most of what you'll see in theaters.

Saw V

Director: David Hackl
Starring: Tobin Bell, Costas Mandylor, Scott Patterson, Betsy Russell, Julie Benz, Meagan Good
Running Time: 89 min.
Rating: R

*** (out of ****)

No, I didn’t accidentally hit an extra asterisk on my keyboard. The rating you see above is not a typo. But what may be more interesting than my actual thoughts on Saw V is how my attitude going into it had shifted within the past week. I thought the fourth film, which really just amounted to a confusing police procedural was bad, but I wasn’t aware that everyone else thought it was THAT bad. So bad, in fact, that many seem to be personally offended they’ve made another one.

It’s time to put things in perspective. Saw IV was a near miss, which in the case of a fourth installment of a horror series is actually a small miracle. It should have been terrible. All of the Halloween, Friday The 13th and Nightmare on Elm Street sequels were. There was hardly a redeeming quality about them with the best only being enjoyable on a guilty pleasure level. But try telling anyone you’re a fan of the Saw series and it’s a capital offense. Forget that this franchise actually contains a protagonist with complex motivation and a psychologically driven back story. Or the fact that he isn’t just some guy in a mask hacking people up because he had an unhappy childhood or a messed up family.

The more I think about it the more unfair this series’ reputation seems. All of the sudden I found myself really excited to see Saw V and rooting really hard for it to succeed. But I still expected it to be awful. Jigsaw likes to play games but now I’m going to play one and challenge you to see Saw V… then try naming a fifth film in a horror series better than it. I bet you can’t. By telling a more focused, cohesive story and shifting the central focus back to Jigsaw’s legacy this film is a marked improvement over the last one. A lot of that credit should go to a new director who proves he knows this material inside out. Did we really need another Saw? Do we really need sequels for ANY films? That’s beside the point and you could argue all day about it. This works for what it is and fans of the series won’t be disappointed.
After the death of John Kramer A.K.A. Jigsaw (Tobin Bell), forensics expert Mark Hoffman (Costas Mandylor), was revealed at the end of the last film as his successor and the one chosen to continue his "work" and legacy. But before he can he has to tie up some loose ends. Now promoted to Lieutenant Commissioner after his falsely perceived heroics he has to somehow eliminate Agent Strahm (Scott Patterson), the only officer to survive the last trap and who’s now determined to gather evidence that proves Hoffman is the crooked disciple of Jigsaw.

Meanwhile, five strangers wake up in a sewer connected to guillotine blades. A trust fund brat (Greg Bryk), an arrogant reporter (Carlo Rota), a fire inspector (Laura Gordon), a city housing planner (Meagan Good) and a snooty real estate agent (Julie Benz) are the targets of Jigsaw’s latest game, eerily recalling Saw II in that a group of people linked by their immoral life choices must work cooperatively to make it to the end alive. Whereas the last film interspersed flashbacks of John Kramer’s relationship with ex-wife Jill Tuck (Betsy Russell) with the central storyline all the flashbacks here explore the history behind Kramer’s alliance with Hoffman. Jill has a much smaller role this time around but her limited presence introduces an intriguing mystery into the equation that's destined be explored in future films.

Patrick Melton and Marcus Dunston’s script tells three stories and each of them are told in a compelling, straight forward, and intelligible manner, a big step up from their scatterbrained work on the last installment. My biggest worry going into this was that they'd attempt to have Hoffman replace Jigsaw as the focal point of the series. Instead the screenplay did an excellent job of not only giving Hoffman a credible back story but coming up with a very reasonable explanation why he’d be carrying out his dying wishes. Not only that, but without giving too much away this explanation fits perfectly with the theme of the series and what Jigsaw represents as a character.

For the first time since his untimely demise in the third film I actually believed that John Kramer had bigger plans extending far beyond his death that could be carried out despite his passing. His presence was actually felt this time, unlike the last film where we only felt the presence of cops, lawyers, investigators, detectives and a bunch of other people we had no interest in. Jigsaw and his ideology was relegated to an afterthought amidst the mass confusion. Make no mistake about it: We know whose still pulling the strings in this one and it isn’t Hoffman.

The flashbacks are clever in the way they incorporate Hoffman into past events and develop the character. Is it a little silly and are they grasping at straws? Sure, but it makes sense and progresses the story. When I offered suggestions on how to improve the franchise I said that the writers better give Hoffman a hell of a back story if they want to keep him around and Mandylor should be prepared to really deliver. They did and he was. By the end of the film I actually cared what would happen to the guy.

Hoffman has fitting opposition in Scott Patterson’s Agent Strahm. Merely nondescript wallpaper in the previous film, Patterson steps up to the plate in a big way and shows the most fight of any of the cops since Detective Tapp in the original. There’s a moment in the film when Strahm pulls out all the files of the previous Jigsaw victims as we’re taken for a trip down memory lane and it was just the kind of acknowledgment the series needed at this point. The film effectively stages a battle of good vs. evil between the two lawmen on a collision course that can only lead to disaster. If I had to pick it’s probably the weakest of the three stories in the film, but I was shocked how interested I was in it.

The current game involving the five strangers bonded by their moral indiscretions recall the earlier, strongest installments and a few of the actors’ performances really carry the day, especially Dexter’s Julie Benz (nearly unrecognizable in a black wig) and the memorably high-strung Greg Byrk. The traps are back to being simple but brutal, reestablishing the idea of Jigsaw believing himself to be a tester or a therapist rather than a murderer. He creates the illusion of choice for those he knows lack the moral fiber necessary to make one at all. A few of the traps in this film I’d rank alongside the best in the series as far as cleverness and pure entertainment value. And unlike the last film, this is a game you could actually believe Jigsaw was behind.

Fans have long come to expect a huge twist of some sort at the end of every Saw film as the familiar music swells up, although that practice has gone out of style with the past few. I won’t even touch on what happens other than to say it’s more of a clever reversal completely appropriate for this story. I LOVED the last scene, which is just about the best closer since the infamous bathroom in the original. But more impressive is how Hackl films it, creating an indelible final image that isn’t easy to shake.

As surprisingly good as this is it isn’t without problems. There was still a little too much police business for my taste and while the script far more comprehensible this time around it still could have been even tighter and more focused. A lot is going on here, although Hackl does balance it well. I’m also convinced that had John Kramer not had terminal cancer or have his throat slashed by a chainsaw he would have died anyway from the stress of having to set up all those traps, anticipate their outcomes and train all his apprentices. That guy must have had a lot of time on his hands. Nothing more can possibly be said about Tobin Bell’s performance other than this series wouldn’t exist without it. His role has been slightly reduced, but strangely in this film it seemed more important than ever.

I sympathize with those who feel the Saw series has become a parody of itself and agree that in a perfect world it would have ended with the third film. But it didn’t so here we are and this is what we have. Considering we're on the fourth sequel it’s in amazing shape and given that they've chosen to go past what should have been its expiration date the ongoing narrative holds together pretty well. I have no idea why everyone has gone so hard on this but I’m curious what the reaction would have been if it didn’t have “V” in its title. Just because all horror sequels suck is no reason to punish this one. While many complain the films have grown predictable and clichéd I’d argue there’s something to be said for consistently executing a successful formula well. Still, I'm with those who feel the series would benefit from trying some different things and stepping out of its comfort zone a little more.
With this installment Saw becomes the highest grossing horror franchise of all-time and no matter how you feel about the films that’s a huge accomplishment. People like watching them, talking about the traps and plot twists and I was on the edge of my seat waiting to see what would happen next in this one. Even those who hate it find themselves oddly compelled to check it out every year like some kind of unhealthy addiction. And when Saw VI comes around next October you know they’ll be first in line. Why? Because this franchise works. It's time to just let go and admit it. At its worst it still runs circles around anything the genre has had because the underlying concept is so strong. It’s tough imagining Halloween without Saw and I’ve finally come to the realization that I don’t want to. I don’t want this series to ever end and it’s looking like I’ll get my wish. So while everyone else compares notes on which film they officially lost interest at, I prefer to look at the glass as being half full…with blood.

Rambo

Director: Sylvester Stallone
Starring: Sylvester Stallone, Julie Benz, Matthew Marsden, Graham McTavish, Paul Shulze
Running time: 91 minutes
Rating: R

***½ (out of ****)

I don’t think I’ve ever been more inspired to hit the gym than right after viewing Rambo. Say what you want about the film but no one can accuse 61 year-old Sylvester Stallone of not physically preparing himself to resurrect the iconic character he created over twenty years ago. He’s so big in this movie it’s a miracle he was even able to run at all without falling over and there were times I thought he might. If I was exhausted just watching him and the other members of the cast tear through the jungles of Thailand I can’t even imagine how hard a movie this must have been to make for them or how physically grueling. Stallone should congratulate himself though because he’s done what he failed to do with 2006’s Rocky Balboa. He’s made our reunion with John Rambo actually mean something more than just a trip down memory lane.

While it’s unfair to compare the two films, it’s all but impossible not to. I found his attempt to resurrect Rocky to be a laughable misfire in which Stallone fell in love with his own nostalgia over the character. He figured just putting “The Italian Stallion” in the ring again was enough, asking audiences to ignore the fact that the screenplay didn’t contain anything or anyone else worth caring about. The fourth installment of Rambo is the exact opposite and easily the most satisfying directorial effort of Stallone’s career. And this is coming from someone who is not a fan of war films, this series or really Stallone in general. Truth be told, I wasn’t looking forward to seeing this at all. But Rambo knows what it has to do and just does it, executing its premise to near perfection and not overstaying its welcome. In this way it reminded me of last year’s Live Free or Die Hard, which is a high compliment.

Under usual circumstances it would seem almost beside the point to discuss the plot of a Rambo film other than it involves a lot of people being killed in the jungle, but this actually does have a fairly engaging storyline. It isn’t going to change the world or anything but it gets the job done and places Rambo in a situation that brings out the best in the character and plays on the series’ strengths. The screenplay at times does seem to be reaching for something more also. It doesn’t quite get there, but it comes closer than it has any right to. And yes, a lot of people are killed also.

Lonely, aging Vietnam Vet John Rambo (Stallone) is content spending his free time catching poisonous snakes for profit when Christian missionaries Michael (Paul Shulze) and Sarah (Dexter’s Julie Benz) approach him with the offer to take their group up river from Thailand to Burma. At first, Rambo resists due to what can best be called philosophical differences (and likely a desire not to see these people killed) but pretty Sarah lays on the charm and he reluctantly caves in. When the trip down river leads to potential disaster as they encounter a gang of pirates, Rambo rectifies the situation the only way he knows how and returns thinking he’s safely gotten the missionaries to their destination. But he finds out a little over a week later that The Burmese Army, whose sadistic officer kills villagers for sport, has captured them. Rambo is recruited to head downstream again with a rag tag group of mercenaries to rescue them from the P.O.W. camp. Bloodshed and many rounds of firing ensue.

Going into Rambo I was expecting a movie with a big budget blockbuster feel and somewhat of a campy attitude but in actuality it plays more like a gritty independent film or documentary. I was amazed at how well Stallone shot it as it’s almost as if we’re seeing the action through Rambo’s eyes as he navigates the men through the jungle. Despite the picture only running 90 minutes it feels like an epic war film, kind of a twisted up version of Apocalypse Now on steroids. Some may complain about Stallone taking 40 minutes to get down to the action but I enjoyed the fact that he took his time reintroducing us to the Rambo character and giving us some quiet moments with him. Nor does he take center stage and start blowing everyone away immediately like you’d expect. This could have easily ended up being a vanity project for the star but Stallone, rather unselfishly, gives his co-stars equal time and turns it into an exciting ensemble action thriller.

Graham McTavish and Matthew Marsden are particular standouts as the mercenaries, while the cleverness of casting Julie Benz as the female lead can’t be undersold. Since she’s an actress that oozes angelic sweetness seeing her character being dumped into genocidal hell and having to depend on a grumpier than ever Rambo to get out is classic and provides a great contrast. Rather than saying Stallone gives a great acting performance here it’s probably more accurate to say he gives a great performance in the B-movie tradition. The only time he falters as a director is when he doesn’t trust himself enough as an actor and relies on unnecessary flashbacks and voice-overs to convey Rambo’s angst. It was that similar miscalculation that caused me to laugh hysterically at the finale of Rocky Balboa. Luckily, here it’s kept to a minimum and isn’t as ill timed as it was in that film. He conveys more with a single facial expression than any distracting voice-over can.

Stallone was put in a no-win situation with the violence. If it’s as graphic as possible he’s accused of being a hypocrite and exploiting the injustices in Burma he’s claiming to shine a needed spotlight on. But if he cuts corners in depicting it to please the studio and bring in younger audiences then the movie becomes less authentic, short-changing a serious issue. My stance on it is that this is just entertainment and he shouldn’t be held to so high a standard, but having said that, I think he made the right call going all the way with it. And to Stallone’s credit, the violence, as graphic as it is, never seems cartoonish. Instead, it’s horrifying and shockingly realistic. There are about two or three sequences that are downright difficult watch they’re so brutal. It’s here where the film flirts with being something more than just a fun action vehicle. You could even argue at times it’s so serious there’s little fun to be had during many scenes. But that’s the way it should be. Stallone didn’t compromise and refused to turn this into a joke.

The restrained script wisely doesn’t shove the Burmese situation down our throats, but lets the violence do all the talking instead. And does it ever. Unfortunately though it serves as disturbing further proof that the MPAA finds it perfectly acceptable to have limbs flying around in action movies since the NC-17 rating is only reserved for artsy independent projects that dare to feature sex or nudity. But that’s a separate issue. This film can’t be blamed for the MPAA rating board’s stupidity.

I was surprised how affected I was by the ending and in a weird way, Rambo does become an inspirational figure of sorts, at least within the movie universe Stallone has so effectively created. The choice of the final scene is just perfect and the movie couldn’t have ended on a more appropriate note. It’s been so long since I’ve seen First Blood or any of the other films in the series it would be unfair for me to compare, but what matters most is that this movie stands on its own two feet as a winner regardless of what came before. It stays true to the character and its origins and is everything a fourth installment of a franchise like this should be. If Stallone wanted to keep going and make another I wouldn’t complain. Or he can stop here and end with the knowledge that Rambo went out on top.