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Saw II: Unrated Special Edition (DVD)



Saw II: Unrated Special Edition DVD (click for larger image)Starring Donnie Wahlberg, Shawnee Smith, Tobin Bell, Franky G, Glenn Plummer, Beverley Mitchell, and Dina Meyer

Directed by Darren Lynn Bousman

Distributed by Lionsgate Home Entertainment

The time:
Monday, February 13th, 2006

The prediction:
*puts on turban and glares into a crystal ball* I predict an unrated, extras packed DVD of Saw II next year! Don’t mess with me, man; I was one of Dionne Warwick’s Psychic Friends!

Yep, those were my words just a few months ago, and except for the time frame, my forecast was dead on. Here we sit just a few days shy of Saw III‘s theatrical release, and in stores we can now find a new edition of Saw II. Who knew, right? Double dipping is a scary prospect for fans. We’ve all been there. I’m sure just about everyone reading this has owned several editions of each Evil Dead film and probably at least two versions of Jaws. So the question once again beckons: Does this newest two-disc release of Saw II give us enough bang to warrant the extra bucks?

The answer — Hell yes!

I’m not going to bother covering the film’s storyline as we already have two other reviews that do that aspect of a review justice, so let’s get right to the goods.

First up, what’s extra in the film itself? In a nutshell, we get a few more looks at some of the movie’s violence. You know the drill — some gooier brain matter here, an extra bit of burning flesh there. Hell, you may not even notice the extra shots if you haven’t watched this in a while. It’s pretty standard stuff except for the restoration of one scene in particular: the needle pit. In the theatrical cut of Saw II this scene lasted around the two-minute mark. If you’re watching that version closely, you’ll see a discrepancy on the trap’s timer; it counts down from four minutes to two minutes in literally the blink of an eye. Well guess what, kids? Those missing minutes have been lovingly added back into this disturbing little mix. All in all, the excised footage gives us a few extra minutes of brutality. Not too shabby, but what makes this edition really shine is the supplemental material.

In addition to the new cut of the flick, Disc One also finds itself sporting two insightful commentaries. The first with director Darren Lynn Bousman, production designer David Hackl, and editor Kevin Greutert tackles a lot of the technical aspects of making the movie. Don’t worry, it’s not all techie stuff. Bousman and company also spend a great deal of time talking up the on-set antics, what it’s like working with the actors, and a few quick glimpses at where their heads are at pertaining to Saw III. The second track finds franchise creators Leigh Whannell and James Wan discussing their inspirations and sharing anecdotes about filmmaking in general. Listening to these two guys chat is like being privy to an intimate conversation between best friends. Really good stuff. It’s a shame that Saw II‘s original commentary track didn’t make the jump to this release, but hey, you can’t have everything, right? Fear not, Disc Two more than makes up for this omission.

Saw II: Unrated Special Edition DVD (click for larger image)As soon as you pop this baby in, you’re informed by Billy the Puppet that you have two choices: You can either access the supplements the easy way, or you can do it the hard way. The novice route is simple stuff; click on an icon and be transported to an extras menu where everything is laid out for you in black and white. Or should I say black and dirty gray? If I had to pick one thing that’s very wrong with this disc, it’s the way that the words (fonts) blend in with the menu graphics. There were a couple of times I honestly couldn’t see what I was choosing to watch from my couch. While this is annoying, it’s hardly a deal breaker. Included is a literal cavalcade of featurettes that cover just about every conceivable thing about Saw II. The first thing we get to watch is a several part series of featurettes dealing with the ordeal that was getting the film from script to screen and beyond. As a whole these featurettes total up to a bit over a half an hour’s worth of behind-the-scenes goodies and interviews.

Next up on the slab we find Darren Lynn Bousman’s short student film Zombie complete with self-deprecating commentary track. Clocking in at around two minutes, Zombie is exactly what you would expect a student film to be — nothing great. While you will see a couple of flashes of brilliance here and there, this addition to this set is certainly nothing to write home about.

From there we get an interesting little feature called The Scott Tibbs Documentary. This Blair Witch style mockumentary follows the exploits of obnoxious band front man Scott Tibbs. Scott is obsessed with serial killers. Especially Jigsaw. So what’s a crazed fan-boy to do? Grab a camera and engage in a little digging, of course. Upon his exploration of the Saw mythos, Scott ends up eventually on the wrong side of the trap. I’m sure you can guess how this one ends.

Ever wonder what the story behind the Saw franchise is? I mean come on, these movies have some really fucked up shit in them. As Whannell and Wan explain in The Story Behind the Story featurette, the genesis of Saw really isn’t all that grisly, but it is a bit on the disturbing side. I’m not gonna ruin it for ya! Check out the DVD for yourselves!

Things are wrapped up with a heartfelt tribute to late producer Gregg Hoffman. Gregg helped to create a lot of memories for horror fans the world over. He will be missed and always remembered. God speed, my friend. Save us a seat at the big cinema in the sky.

There’s no denying it; this DVD is stacked. But what of the aforementioned hard way to watch the extras? Did you think I’d forget about that? Come on, you know old UC always has your hook-up! For those of you up for a bit of a challenge, you can participate in one of Jigsaw’s murder games. Upon beginning, you’ll find yourself sitting in a virtual room with Billy on the TV instructing you what to do. He will ask you a series of riddles, and you’ll need to find the key to any one of several death traps in order to make it through five rounds of questions. Get them all right and you’ll be shown some maniacal takes on some very old stories with Billy as your narrator and guide. The game is interesting and silly fun for sure, but it’s not likely one you’ll come back to and mess with more than once or twice. Good thing that easy route is an option!

The Saw franchise has quickly become one of horror’s premier properties. It’s only fitting that the movies themselves get the royal DVD treatment. Maybe next time Lionsgate will spare us the initial release and provide the goods the first time around. Double dipping can sometimes be justified, but it’s never any fun. If they do this with the Saw III DVD release, they’re likely to find hordes of fans screaming, “GAME OVER“! Let’s hope for the best, shall we?

Special Features
Commentary by director Darren Lynn Bousman, production designer David Hackl, and editor Kevin Greutert
Commentary by writer/executive producer Leigh Whannell and executive producer James Wan
Zombie – a short student film by director Darren Lynn Bousman
The Scott Tibbs Documentary featurette
The Making of Saw II featurettes
The Story Behind the Story featurette
Gregg Hoffman: In Memorium tribute to producer Gregg Hoffman
Play Me set-top game

4 out of 5

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Through the Cracks – Trick or Treat (1986) Review



Starring Marc Price, Tony Fields, Lisa Orgolini, Glen Morgan, Gene Simmons, and Ozzy Osbourne

Directed by Charles Martin Smith

I have been a horror fan for more than half of my life at this point. Meaning I have seen most of the quality horror offerings under the sun. But that said, every once in awhile a classic sneaks past so we wanted to create this “Through the Cracks” review section for such films.

Case in point, I had never seen the Halloween horror flick Trick or Treat until last night. I know, right? How the hell did that happen? But these things do happen and so for everyone that has seen the flick a million times, this will be a review of the movie from a super horror fan that – at the age of 33 – is seeing Trick or Treat for the very first time.

Now let’s get to it.

First off you have to love the movie’s plot. Mixing horror and heavy metal seems like a given, yet preciously few films Frankenstein these two great tastes together.

Like many of you out there, I am a big metal fan as well as a big horror fan. The two seem to go together like chocolate and peanut butter. Or Jason and horny campers.

I dig bands like Black Sabbath, Judas Priest, and even those hair metal bands (Dokken forever!) and I’m well aware of the legends surrounding playing these records backward.

Off the top of my head, the only other flick that combines the two to this degree is the (relatively) recent horror-comedy Deathgasm. I say more horror-metal flicks! Or should we call it Metal-Horror? Yeah, that’s a much more metal title.

It only makes sense that someone, somewhere would take the idea of “What if Ozzy Osbourne really was evil and came back from the dead (you know, if he had passed away during his heyday) to torment a loner fan?” Great premise for a movie!

And Trick or Treat delivers on the promise of this premise in spades. Sammi Curr is an epic hybrid of the best of the best metal frontmen and his resurrection via speaker is one of the great horror birthing scenes I have seen in all my years.

Add to that the film feels like a lost entry in the Nightmare on Elm Street franchise. More specifically the film feels like it would fit snugly in between two of my favorite entries in that series, Dream Warriors and The Dream Master.

This movie is 80’s as all f*ck and I loved every minute of it.

And speaking of how this film brought other minor classics to the forefront of my brain, let’s talk about the film’s central villain, Sammi Curr. This guy looks like he could share an epic horror band with the likes of Mary Lou from Hello Mary Lou: Prom Night II and the Drill Killer rocker from Slumber Party Massacre Part II.

Picture that band for a moment and tell me they aren’t currently playing the most epic set in Hell as we speak. I say let’s see an Avengers-style series of films based on these minor horror icons sharing the stage and touring the country’s high school proms!

In the end Trick or Treat has more than it’s fair share of issues. Sammi Curr doesn’t enter the film until much too late and is dispatched way too easily. Water? Really? That’s it?

That said, the film is still a blast as director Charles Martin Smith keeps the movie rocking like an 80’s music video with highlights being Sammi’s rock show massacre at the prom and his final assault on our hero teens in the family bathroom.

Rockstar lighting for days.

Even though the film has issues (zero blood, a rushed ending) none of that mattered much to this horror hound as the film was filled to the brim with striking horror/metal imagery and a killer soundtrack via Fastway and composer Christopher Young.

Plus you’ve got to love the cameos by Gene Simmons (boy, his character just dropped right out of the movie, huh?) and Ozzy Osbourne as a mad-as-hell Preacher that isn’t going to take any more of this devil music. P.S. Watch for the post-credits tag.

More than a few of my closest horror buddies have this film placed high on their annual Halloween must-watch lists. And after (finally) viewing the film for myself, I think I just may have to add the film to mine as well. Preferably on VHS.

Trick or Treat is an 80’s horror classic. If you dig films like Popcornand if you put the film off like I did, remedy that tonight and slap a copy in the old VHS/DVD player.

Just don’t play it backward… God knows what could happen.

All said and done, I enjoyed the hell out of my first viewing of Trick or Treat. But what do YOU think of the film? Make sure to hit us up and let us know below or on social media!

Now bring on Trick or Treat 2: The Prom Band from Hell, featuring Sammi Curr, Mary Lou Maloney, and Atanas Ilitch’s Driller Killer from Slumber Party Massacre Part II!

  • Trick or Treat (1986) 3.5


Charles Martin Smith’s Trick or Treat is a sure-fire Halloween treat for fans of 80’s horror flicks, as well as fans of heavy metal music.

User Rating 3.25 (12 votes)
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AHS: Cult Review – Clowns, Cults, Politics, and Peters



Starring Evan Peters, Sarah Paulson, Billie Lourd, Cheyenne Jackson, Frances Conroy, Mare Winningham, and Allison Pill

Created by Ryan Murphy and Brad Falchuk


It’s here. We’ve reached the end. The newest season of “American Horror Story” has ended and now we are here to provide you guys with our season review of AHS: Cult.

Spoiler free.

To start things off let me say I’m not the world’s biggest fan of “American Horror Story”. It breaks down like this: I enjoyed the absolute hell out of the first season of the series (“Murder House”), couldn’t get through “Asylum” (I know, I know, I’ve tried), dug “Coven” for what it was, really enjoyed “Freak Show”, and again I couldn’t get into “Hotel” or “Roanoke”.

That’s the story of me and “American Horror Story”. Plain And simple. But what did I think of the new seventh season of the notorious horror anthology series? Let’s find out.

Back when the seventh season of AHS was first announced (then going by the title “AHS: Election”) I was immediately intrigued by the new season because I heard it would not include any supernatural elements. Like the fourth season, “Freak Show”.

Now I’m a fan of ghosts and weird creature-men with drills for d*cks, don’t get me wrong. But the series has thus far relied almost exclusively on horrors of the supernatural variety (other than “Freak Show”) so this major change of pace was again welcomed by this guy.

Instead of vampires, aliens, and witches this season relied on terrors of the mind. Psychological fears and anxieties. The horrors man does to man. Deep issues.

Oh, and clowns. Like a lot of clowns.

But just because this new season didn’t include anything supernatural, that doesn’t mean the 11-episode season wasn’t filled with twisted visuals and horrifically disturbing acts. No, sir. This season boasted some showstoppers including S&M, gimps, and a house of horrors that wouldn’t be out of place in a Rob Zombie flick. It was all good.

But let’s backtrack a bit here.

Allow me to rundown the season’s plot for those who may be unaware. “AHS: Cult” tells the tale of a world post-election night. The literal dawn of Trump’s America. In one corner we have Sarah Paulson’s soccer mom, trying to fight through life with a series of crippling phobias (including clowns, holes, blood, and being a good person).

And in the other corner, we have Evan Peter’s angry, white (blue-haired) male, looking to seize Trump’s new position of power to bring about the end of… Actually, I want this to be a spoiler-free season review, so I’m just going to say the dude’s got big plans.

Like Manson-size plans. Let’s leave it at that.

With these two characters established, the new season then proceeds to send them spiraling into a collision course of political sabotage, intrigue, and clown-based nope, nope, nope-ing that can only end with one – or both – of them dead as Dillinger.

Overall “AHS: Cult” belonged end-to-end to Mr. Evan Peters. The young actor has continued to show his striking range from season to season of Ryan Murphy’s horror show and this season was no different. Peters’ turn as not only Kai, the blue-haired leader of the titular cult, but as infamous leaders such as David Koresh, Jim Jones, and Charles Manson – to name a few – owed this season.

I can only hope he doesn’t pull a Jessica Lange and opt-out of more AHS next year.

Speaking of top performances, “AHS: Cult ” showcases some other chilling and memorable turns with Alison Pill’s strangely vulnerable, put-upon wife character being the best next to Peters in my eyes. This actress needs to be in more films/TV!

Along with Pill, actress Billie Lourd killed it time and time again. The “Scream Queens” breakout star and Carrie Fisher spawn was yet again a highlight in her second Ryan Murphy series. Bet she has the starring role in next season. Mark my words.

Add to that, the season also boasts a handful of fun cameos, including John Carroll Lynch’s return as Twisty the Clown, Emma Roberts as a bitchy reporter that will do anything to end up on top, and Lena Dunham as SCUM Manifesto writer Valerie Solanas. The cameo cast killed it and I wish they would have been present for more episodes. What are you gonna do?

On the sour side of the season, I didn’t dig Sarah Paulson’s character. At all. But I’m sure that was the point. Right? I’m still not sure. But, boy, I wouldn’t even want to be stuck in line behind her at a Starbucks for three minutes, let alone spend the better part of this season’s 11-hours with her and her whiny bullshite. Urgh.

That said, she pulled it out by the finale. That’s all I’ll say.

In the end, I enjoyed this season as much as – if not more – than any other of the series. “Murder House” will still no doubt go on as my favorite season of the series, but “AHS: Cult” will rank third after season one and “Freak Show”.

While I was on the fence about the season after three episodes, the show ended up ditching Paulson’s character (and/or shifting her arch) after a lull so the episodes picked up quickly. Whenever the season turned its focus back towards Peters (in whichever incarnation he was playing at the time) the show got better and better. Every time.

Not a bad way to spend my Tuesday night for the past 11 weeks.

Bring on season 12.

  • American Horror Story: Cult (2018)


The seventh season of Ryan Murphy’s American Horror Story was Evan Peters’ show all the way through. The young actor pulled out all the stops time and time again to make what may have been a lackluster supernatural-free season a winner.

User Rating 4.11 (18 votes)
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The Axiom Review – A Stylish and Clever Slice of Independent Horror




Starring Hattie Smith, Zac Titus, Nicole Dambro

Directed by Nicholas Woods

The Axiom is an ambitious, well directed, impressively acted and stunningly shot independent horror film that has just a few, teensy little flaws holding it back from greatness (and therefore will have to settle for just being really, really good, instead).

The first thing you realize when watching The Axiom is that this is a beautiful film. Everything is framed and shot in a lush and stylish manner, but one which is always tonally appropriate for the scene.

The second thing you’ll notice, and keep noticing as the film plays out, is that the movie really struck gold with this cast. Not only is there a total lack of the sort of stilted and unnatural acting seen in countless other microbudget horror affairs, but the performances are genuinely fantastic across the board. The main characters are believably chill and relatably normal in the early scenes, and the acting remains just as impressive once things start getting a bit more… intense. It’s not often that an independent horror film has so many good performances that it makes it hard to pick the movie’s acting VIP, but that is undeniably the case here. Taylor Flowers delivers what is probably the showiest performance (and does it very well, indeed), but the entire cast really is quite good.

The central premise of the film is both interesting and original, and touches upon the real life fact (given some recent attention in the ‘Missing 411’ books and documentary) that a lot more people sure seem to go missing out in the woods than seems reasonable, while simultaneously weaving all sorts of folklore, fairy tales and urban legends into the mix. It’s also clever in the way that it very naturally reveals aspects to the relationships between characters that serve to later – or sometimes retroactively – explain some of the more questionable decisions they make or attitudes they display. While that may sound like screenwriting 101, it’s surprising how many films fail to do this. The Axiom rewards the viewer’s attention in other ways as well, with many aspects of the movie that initially feel odd or unnatural receiving reasonable explanations (within the context of the movie) by the end. It’s not quite as challenging (or as rewarding) in this regard as, say, something like Session 9, but it does add a nice layer of complexity to the storytelling.

The film’s score, by Leo Kaliski, is also quite good. There may be a moment here or there where the music hits an overly familiar beat, but overall it not only fits the movie’s tone, but does quite a bit to help set that tone as well.

The only thing that I don’t feel the movie quite pulls off – and I’m trying to be vague here, because I feel like the less you know going into this film, the better – is some of the makeup effects work. The gore stuff is very well executed, but some of the other stuff feels like it was crafted with the intention of shooting it in a more… stylized manner. Instead, filmed as it is here, the result is sometimes less than impressive and can fail to make the impact that the movie seems to be implying that it should. And while some of what the makeup effects lack in execution is made up for with the ingenuity and creativity of their design, it’s still a bit of a shame when they don’t quite pull them off because, aside from a few niggles that I have with the writing, the effects are the only aspect of the film that occasionally fails to live up to the high level of technical proficiency that The Axiom otherwise demonstrates.


  • Man, the acting in this movie is really good. The dialogue may stumble once or twice, but these actors always sell it anyway.
  • Give back Mia Sara’s DNA, Hattie Smith!
  • If you’re going to put your female lead in shorts this small, I hope you’re not sensitive to viewers unleashing a nonstop parade of “Has anyone seen my pants / OH GOD WHERE ARE MY PANTS!” jokes.
  • “You just pop this here ‘Blair Witch Stick Person / Anarchy sign’ sticker up on that there windshield of yours, and them park rangers? Well – heh heh – they won’t bother you none, no sir.” Hmmmmm…
  • The film really is shot amazingly well – better than a lot of mainstream releases. Cinematographer Sten Olson has a real future ahead of him.
  • As does writer / director Nicholas Woods, for that matter. Any director who can get this level of quality out of their cast and crew on their first ever film is someone to keep an eye on.
  • “I’ll make a run for it and get help,” says the female lead, and I’m like “Yeah, let her go – she has no pants to weigh her down.”
  • The gore effects in the movie are both realized and utilized very well.
  • Welcome back to horror movies, “I’ll be right back” dialogue spoken unironically by and/or to ill-fated characters.
  • The Axiom


In the end, The Axiom is a solid and entertaining flick that manages to wring a level of quality and originality out of the somewhat tired “Don’t Go in the Woods” horror subgenre not seen since 2012’s Cabin in the Woods. The cinematography and acting are hugely impressive, it features a nice, unnerving score, the premise is original and captivating, and the whole thing moves at a nice pace that helps keep the film’s flaws from dragging it down.

User Rating 4 (17 votes)
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