So in preparation of this review, I armed myself with a suitcase of Bud Light (forgoing my ceremonial Anchor Steam in lieu of lighter fare – my trepidation factor was running high), a tightly packed bowl of citrus-sweet green-bud, and a bag of Act II Light Butter popcorn. Then I grudgingly plopped myself on my beige leather sectional for a preliminary education on the current state of the Jigsaw universe via Saw III. I found myself caught off guard by the depth and elaboration of characters, the finely sculpted story-line, and the general appearance of everything that the second movie lacked. I realized I was in it for the Long Haul.

This fourth installment carries on the legacy of Jigsaw, though both John Kramer (Tobin Bell) and his all-too-eager understudy Amanda (Shawnee Smith) were killed off in the previous film. In the opening sequence, we are shown the body of the alleged serial killer mastermind laid bare on the coroner’s slab; fully nude, emaciated by cancer, and missing a good portion of his cranium due to the “backdoor surgery” of the last movie. Though crime docudramas like CSI could stand to take a few notes from the absolutely amazing job done by the FX department in the body-prep scene, I could’ve gone at least a few years longer without knowing what Bell’s scrotum looked like up close – instead, I shall forever curse my eighty-eight inch projection screen for burning the image into my retinas.

As the coroners autopsy the corpse in an utterly realistic visual demonstration of their trade, they soon discover one final tape lodged within John’s stomach (cueing an expository flashback of a scene that had perplexed me in Saw III). This new tape warns that things are not always what they seem – the anchor-point of the film and a leitmotiv that ties all the characters and subplots of the series together.

The tape also re-introduces detective Hoffman (Costas Mandylor), who had a minor cameo in the third film, as he and Lt. Riggs (Lyriq Bent, another minor character in the two previous films) follow the remaining clues only to find their missing compatriot Det. Kerry (Dina Meyer, sadly bereft of her beautiful sternum – see Saw III). Thus they begin yet another elusive game of cat and mouse with the phantom Jigsaw killer, even as two veteran FBI profilers (Scott Patterson and Athena Karkanis) step in to assume the investigation.

As the maniacal trappings of the recently deceased madman begin to close around the “heroes,” the raisons d’être of Jigsaw’s methodology gain exposure through flashbacks of John Kramer’s life, as told to FBI agent Strahm (Patterson) by Kramer’s estranged wife, Jill (Betsy Russell). John’s de-evolution from pragmatic philanthropist to psychotic prognosticator weaves yet another thread into the overshadowing overtone of the series: where do you draw the line between good and evil? do evil deeds justify a good cause? can good intentions have evil consequences?

I can guarantee that Saw fans will be left considering these questions as they wait for yet another addition to the franchise, already in the works. Though we will lose the excellent direction of Darren Lynn Bousman, the writers and cast will most likely remain the same. So I raise my last Bud Light to you, the other fans of this series (that’s number 30, in case you’re not familiar with the Northern 48’s metric divvying of cheap alcohol) – let’s hope that the new writing duo can forge such a brutal dynamic with director David Hackl (new to the director’s chair, but has occupied the position of production designer for the last three films).

Here’s to another four years of sequels, followed by a five-year gap and clumsy resurrection of a so-far outstanding series! Skol!

* Acting – 4
* Blood – 5
* Violence – 5
* Partying – 1
* Language – 5
* Humor – 1
* Predictability – 1
* Girls – 2
* Gore – 5
* Sexuality – 1
* Torture – 5
* Overall – 3

1. Movies, Television. a tongue-and-cheek documentary film, radio or television program, etc. that combines the elements of a mockumentary and a shockumentary into a campy package full of dark humor and faux-slasher biographic narrative.

I found this film so tastefully unique that I had to coin a new definition of its genre. Behind the Mask is Spinal Tap meets Friday the 13th in a hilarious account of the curriculum vitae of one Leslie Vernon (Nathan Baesel), an up-and-coming serial slasher seeking to establish his stylistic legacy of murder by employing innocent journalist Taylor Gentry (Angela Goethals) and her two crewmen Doug (Ben Pace) and Todd (Britain Spellings) to document his auspicious return to Glen Echo. As any successful slasher can tell you, body count is second only to the myth behind the man; and the legend of Leslie Vernon is ripe for his second-coming in the rustic town of his childhood.

When the crew finally meet Leslie, however, they are not quite prepared for the likes of this would-be walking slaughterhouse – the guy is downright likable. He’s versed in clinical psychology, armed with a razor wit, and carries an infectious smile. He’s every mother’s dream, and every father’s worst nightmare. He wields a boyish charisma that would be welcome company at 3:00 am when you’ve reached the last of the blow.

Until he puts on the mask.

We watch with Taylor and her cameramen as Leslie exposes the life of a mass murderer with gleeful charm: from selecting his principal victim, or “survivor-girl” (Kate Lang Johnson) to a play-by-play of how and where each of her entourage will meet their demise. We are introduced to his mentor, Eugene (Scott Wilson), and his nemesis, or “Ahab,” Doc Halloran (Robert Englund). And as the final pieces of his story unfold through the handheld cameras, we gain sympathy for his quest – a not-so-subtle commentary on the media a la Rémy Belvaux’s Man Bites Dog.

Soon, however, the interview must end. In a fantastic plot twist, all the elements of this film are pulled together quite nicely (if somewhat predictably). All-in-all, I recommend this film for its departure from the norm, a refreshing and devilishly funny spin on a genre that could stand a bit of introspection.

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* Acting – 4
* Blood – 2
* Violence – 2
* Partying – 2
* Language – 2
* Humor – 4
* Predictability – 2
* Girls – 3
* Gore – 1
* Sexuality – 2
* Torture – 1
* Overall – 2