Alam Nyo Ba?

While secret screenings are nothing new, we rarely hear about one as coveted as the one on this past Thursday night, when Gremlins director Joe Dante presented a 2.5-hour assembly cut of his 1984 horror-comedy classic. One of the coolest aspects of this event is that the crowd, made up of a who’s who of horror filmmakers, had no idea what they were in for. The invite arrived by text, with the message urging them “to watch a movie no one has seen before.” Adding, “you’ll never forgive yourself” if you miss out on this unicorn opportunity.

Who got to see the assembly cut of Gremlins?

“It’s an archival screening, in a way,” Dante said about his assembly cut of Gremlins. It’s a version of the film with additional scenes and concepts rendered in greasy pencil drawings; the audience fills in the action with their imagination. The Hollywood Reporter, who exclusively wrote about the screening, provided a list of attendees, which included: Final Destination: Bloodlines filmmakers (and Gremlins 3 writers) Adam B. Stein and Zach Lipovsky, Drew Hancock (Companion), Rob Savage (The Boogeyman), Dan Berk and Robert Olsen (Novocaine), Brian Duffield (Whalefall), Akela Cooper (M3GAN), Guy Busick (Ready or Not), Atomic Monster producer Michael Clear, Adam Robitel (Escape Room) and 20th Century Studios head Steve Asbell, among others.

What’s in the assembly cut?

According to THR, the assembly cut runs about 2 hours, 35 minutes, roughly an hour more than the original. The assembly cut includes unseen character arcs and alternate takes on the original concept. The first Gremlin doesn’t appear until an hour into the movie, and Phoebe Cates’s disturbing speech about why she hates Christmas is no longer a part of the experience.

As I said, it’s rare to see a movie presented in this manner, but Dante wanted to treat his fellow filmmakers to something special and bring a long-rumored version of his classic film to light. The screening reminds me of something you’d see at a midnight festival screening, or during a studio visit, where question marks represent the last two hours of the event. I once saw an alternate version of Ultraman: Rising at Skywalker Ranch‘s Stag Theater, hosted by Lucasfilm. The Stag is outfitted with THX-certified M&K Sound, delivering volume and clarity that would make any audiophile weep with joy. It was one of the most intense theater-going experiences I’ve ever witnessed.

Would you like to see Joe Dante’s assembly cut of Gremlins? Are there any other rumored versions of movies you’d love to see? Let us know in the comments section below.

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Cody

The Texas Chainsaw Massacre franchise is one of horror’s most enduring series, centered on a cannibalistic family and an iconic, chainsaw-wielding killer known as Leatherface. Spanning multiple timelines, reboots, and tonal shifts from gritty realism to dark comedy, it remains a defining force in slasher history – and it’s still going on, with both a TV series and a new feature film in the works. While we wait for the new entries, we’re looking back at how we get here with this list of The Texas Chainsaw Massacre Movies Ranked.

This ranking breaks down all Texas Chainsaw Massacre movies from worst to best, comparing each entry by story, tone, and impact on the franchise.

Texas Chainsaw Massacre Movies Ranked (Worst to Best):

• 9. Leatherface (2017) – A misfire origin story
• 8. Texas Chainsaw Massacre: The Next Generation (1994) – Bizarre but watchable
• 7. Texas Chainsaw 3D (2013) – Flawed but entertaining
• 6. Texas Chainsaw Massacre (2022) – Fast, brutal, fun
• 5. The Texas Chainsaw Massacre (2003) – Stylish remake
• 4. The Texas Chainsaw Massacre: The Beginning (2006) – Stronger prequel
• 3. Leatherface: Texas Chainsaw Massacre III (1990) – Solid slasher entry
• 2. The Texas Chainsaw Massacre 2 (1986) – Wild, divisive classic
• 1. The Texas Chain Saw Massacre (1974) – Untouchable masterpiece

9. LEATHERFACE (2017)

Directors: Alexandre Bustillo, Julien Maury
Timeline: Prequel to the original
Verdict: Misguided origin story that fails to connect to franchise canon
Best For: Completionists curious about alternate Leatherface backstories

Why It Ranks Here: Set primarily in 1965, this prequel to the original film wants viewers to guess which of the troubled youngsters that escape from the Gorman House Youth Reformatory and embark on a “violent road trip from Hell” (while being pursued by a vengeful lawman) is going to turn out to be Leatherface, but it’s very difficult to accept what directors Alexandre Bustillo and Julien Maury and writer Seth M. Sherwood show us here as canon. Nothing feels like a proper lead-in to the Tobe Hooper classic. The characters are off, the story is questionable, and the fact that the production had Bulgaria standing in for Texas is quite apparent.

Wrong-headed from the ground up, Leatherface has hardly any merit to it at all. It’s painful and embarrassing at its worst and generic at its best, coming off like a cringe-inducing blend of Natural Born Killers and The Devil’s Rejects, with some nods to The Texas Chainsaw Massacre 2. It’s a shame this turned out to be so bad, because a Chainsaw movie from the directing duo that brought us Inside could have been something special. This idea was just never going to work, no matter who was at the helm.

Highlights:

• Attempts a mystery structure
• Nightmarish road trip
• Moments of brutal intensity

Weaknesses:

• Poor canon alignment
• Generic tone
• Misjudged characterization

8. TEXAS CHAINSAW MASSACRE: THE NEXT GENERATION (1994)

Director: Kim Henkel
Timeline: Alternate sequel to the original
Verdict: A bizarre, messy sequel elevated by one unforgettable performance
Best For: Fans of weird, off-the-rails horror and cult oddities

Why It Ranks Here: The franchise went back to its roots for this one. An independent production shot in Texas on a budget of $600,000, Texas Chainsaw Massacre: The Next Generation stirred up high expectations with the fact that it was written and directed by Kim Henkel, who co-wrote the original film with Tobe Hooper. But no one could have predicted that Henkel would pack his movie with goofy characters, off-the-wall ideas, and baffling decisions… like the implication that Leatherface and his family are working for the all-powerful Illuminati organization while under 24-hour surveillance by the FBI.

The set-up is simple: a group of teens go down the wrong country road on prom night. The execution is mind-boggling. The film’s greatest asset, and the main reason to revisit it from time to time, is the performance delivered by Matthew McConaughey in the role of Vilmer, one of Leatherface’s relatives this time around. He has some funny moments, but when he turns up the intensity he becomes the one scary person in a really silly movie. I can’t tell anyone that Texas Chainsaw Massacre: The Next Generation is a good movie, but I also can’t say that I don’t enjoy watching the movie when I put it on.

Highlights:

• Wild, unpredictable tone
• Early performance from Matthew McConaughey
• DIY indie energy

Weaknesses:

• Nonsensical plot elements
• Tonal inconsistency
• Over-the-top weirdness

7. TEXAS CHAINSAW 3D (2013)

Director: John Luessenhop
Timeline: Direct sequel to the 1974 original
Verdict: A flawed legacy sequel with entertaining ideas that never fully land
Best For: Viewers who enjoy modern slasher pacing and legacy connections

Why It Ranks Here: After temporarily drifting off into remake territory, the franchise circled back to the original timeline for this “40 years later” sequel to the first film… although it ignores the fact that 40 years have passed, pretending that only 20-something years have gone by when a young Leatherface relative discovers her twisted family history. Some of the issues are due to there being a lot of cooks in the kitchen (there are four credited writers, and one of them – Jason Goes to Hell director Adam Marcus – has said the continuity problems were written in after his time on the project), and director John Luessenhop’s style is a bit too glossy for my liking.

The film gets started moments after the ending of the ’74 film, with an impressive recreation of the original house, goes through the “dead young people” motions for a while, then gets more interesting around the point when Leatherface swings through a Halloween-themed carnival (even if the filmmakers didn’t push that idea as far as it should have). There are elements in here that, if executed a bit differently, could’ve made for a much better film. As it is, there are questionable decisions and some bad dialogue, but Texas Chainsaw 3D manages to be an entertaining slasher nonetheless.

Highlights:

• Opening continuation of the original film
• Carnival set piece concept
• Attempts to expand family mythology

Weaknesses:

• Major continuity issues
• Weak dialogue
• Underdeveloped ideas

6. TEXAS CHAINSAW MASSACRE (2022)

Director: David Blue Garcia
Timeline: Legacy sequel to the original
Verdict: A fast, brutal, no-frills slasher focused on delivering carnage
Best For: Fans of high body counts and relentless, modern horror action

Why It Ranks Here: After contributing to the Evil Dead franchise but before he went to space for Alien: Romulus, Fede Álvarez got his hands on Chainsaw, crafting the story for and producing this Netflix release, which was directed by David Blue Garcia. It’s a short movie (the end credits start rolling after just 73 minutes), and most of its running time is packed with suspenseful sequences designed to put viewers on the edge of their seats. The ranking may be low, but I actually think this movie catches a lot more grief than it deserves. It’s a fun roller coaster ride with plenty of thrills and bursts of violence.

The set-up: a bunch of hipsters descend on a Texas ghost town and disrupt Leatherface’s peace. The characters are a shrug and there are some dumb moments, but this movie isn’t trying to do anything more than give people a bloody good time. The kills start early and come frequently from then on, and this Texas Chainsaw Massacre is so eager to please that it even becomes the first entry in the franchise to give a legitimate on screen chainsaw massacre. Leatherface racks up a higher on screen body count than ever before, and it’s a delight to behold. And sure, legacy character Sally Hardesty is done dirty, but it’s not the same actress (Olwen Fouéré takes over for Marilyn Burns, who passed away in 2014), so what does it matter anyway?

Highlights:

• High body count
• Fast pacing (under 75 minutes)
• Memorable chainsaw set pieces

Weaknesses:

• Shallow characters
• Questionable legacy handling
• Minimal story depth

5. THE TEXAS CHAINSAW MASSACRE (2003)

Director: Marcus Nispel
Timeline: Remake
Verdict: A slick, stylized remake that improves when viewed on its own terms
Best For: Fans of early-2000s horror remakes and gritty aesthetics

Why It Ranks Here: I did not like this remake at all when it was first released, largely because I was appalled that Michael Bay, of all people, would have the audacity to produce a remake of one of the greatest horror movies of all time. I didn’t like how cliché the victim characters were, the over-stylized look of the film, or how it twisted around the story of Leatherface, turning him into a guy named Thomas Brown Hewitt who has a skin condition – which the filmmakers showed off by having him without his mask in one scene. But now that the franchise has gone back to the original film and the remake has been set aside in a pocket universe, I can accept it on its own merits as a dark, decent slasher flick.

Director Marcus Nispel brought some cool moments to the screen, Leatherface capably handles his victims, having the climactic chase go through a slaughterhouse was a genius idea, and R. Lee Ermey steals the show as Hoyt, a member of the homicidal Hewitt family who presents himself as a lawman and puts some hapless road-tripping youths through hell.

Highlights:

• Strong visual direction
• Intense chase sequences
• R. Lee Ermey’s standout performance

Weaknesses:

• Cliché characters
• Over-stylization
• Unnecessary backstory changes

4. THE TEXAS CHAINSAW MASSACRE: THE BEGINNING (2006)

Director: Jonathan Liebesman
Timeline: Prequel to the remake
Verdict: A more focused and brutal companion piece that outperforms its predecessor
Best For: Viewers who want a dark, intense remake-era story

Why It Ranks Here: I may enjoy the remake more now than I did twenty years ago, but it’s still full of what I perceive to be missteps and choices I disagree with. I have less issues with its prequel, which I find to be much more interesting and entertaining than its predecessor. I like its pace, style, and characters better, and it’s more of a proper Texas Chainsaw Massacre film than the 2003 movie was. It even has cannibalism, an element the remake seemed to overlook. There’s a dinner scene where the final girl is captured and forced to sit at the table with the Hewitt, making this come off, at times, as a better remake than the remake was.

Directed by Jonathan Liebesman, the film is set four years before the events of its predecessor, and the prequel element does drag it down a bit, as the filmmakers felt the need to explain an absurd number of things. (How did that character lose his legs? How did that one lose his teeth?) Thankfully, they didn’t reveal too much about Leatherface, and I prefer the way the character is presented in this film than in the remake. Ermey’s Hoyt still steals the show, though, as he torments another group of road-tripping youths.

Highlights:

• Stronger tone and pacing than the remake
• Memorable dinner scene
• Effective use of brutality

Weaknesses:

• Over-explains details
• Prequel limitations
• Less mystery

3. LEATHERFACE: TEXAS CHAINSAW MASSACRE III (1990)

Director: Jeff Burr
Timeline: Early sequel (loose continuity)
Verdict: A straightforward but effective slasher with strong franchise identity
Best For: Fans of classic, no-nonsense slasher formulas

Why It Ranks Here: Leatherface was a messy production that struggled to get an R rating from the MPAA and had such intense creative issues behind the scenes, director Jeff Burr wanted his name taken off of the finished film. It’s a troubled film that could have been much better… but it also could have been a lot worse, and as far as slashers go, it is pretty awesome. With the Elm Street franchise dying down, this was New Line Cinema’s attempt to turn Chainsaw into their next big horror franchise – and while it didn’t work out at the box office, it was a valiant attempt. They even upgraded Leatherface’s signature weapon, giving him the “Excalibur saw,” a shiny monstrosity covered with gold and chrome, with an inscription down the bar: “The Saw Is Family.”

This one isn’t nearly on the same level as the classic original, it doesn’t have the brilliant insanity of part 2, but it is entertaining in its own right. It is very much a typical, straightforward slasher take on the concept, but that’s fine for the third entry in a franchise. It’s fun, has a great presentation of Leatherface himself, and built a great supporting cast around him, including the likes of Viggo Mortensen and Ken Foree.

Highlights:

• Classic slasher structure
• Iconic “Excalibur” chainsaw
• Strong supporting cast

Weaknesses:

• Studio interference
• MPAA cuts
• Not as distinctive as earlier entries

2. THE TEXAS CHAINSAW MASSACRE 2 (1986)

Director: Tobe Hooper
Timeline: Original timeline sequel
Verdict: A wild, divisive sequel that leans fully into chaos and dark humor
Best For: Fans of horror-comedy and over-the-top sequels

Why It Ranks Here: The Texas Chainsaw Massacre 2 can be a divisive entry in the franchise, as some fans of the original don’t appreciate the heightened sense of humor director Tobe Hooper brought to this sequel, but I’m firmly in the camp that believes this is one of the greatest sequels ever made. Sure, it’s completely insane, but I get a lot of joy from this film’s insanity. I love everything about it – including the fact that it’s one of the only entries in the franchise that doesn’t center on a group of people who go on a road trip. A couple of road trippers are murdered at the beginning, which opens the door for a story about a radio DJ who overhears the murders and joins forces with a vengeful lawman to bring Leatherface and his family to justice.

The script for this one was full of clever ideas and endlessly quotable dialogue which is frequently hilarious. The soundtrack is awesome. The gore effects are great, which comes as no surprise since they were done by Tom Savini. There’s a fun “Leatherface falls in love” element, Jim Siedow reprises the role of the Cook from the original film, and Bill Moseley delivers an iconic performance as Chop Top.

Highlights:

• Bold tonal shift
• Memorable characters like Chop Top
• Strong practical effects by Tom Savini

Weaknesses:

• Tonally divisive
• Less grounded horror
• Not for purists

1. THE TEXAS CHAIN SAW MASSACRE (1974)

Director: Tobe Hooper
Timeline: Original film
Verdict: A raw, groundbreaking masterpiece that still defines horror
Best For: Anyone seeking the most intense and influential slasher ever made

Why It Ranks Here: Some of the movies may have landed in surprising spots on this list, but there’s no surprise here. Nothing that has followed has been able to achieve the sweat-drenched, soul-shaking brilliance of the original. A grueling, low-budget, independent production, carried out in the intense heat of a Texas summer, resulted in one of the greatest horror films ever made. The set-up is simple: for five young people, a summer afternoon drive becomes a descent into a backwoods nightmare. Drawing inspiration from some real-life crime cases (most notably the story of Ed Gein), Tobe Hooper and Kim Henkel created a family of original, off-kilter, homicidal characters for those youths to cross paths with, and those maniacs were perfectly brought to life by Gunnar Hansen, Jim Siedow, Edwin Neal, and John Dugan.

The execution of the story is equally terrifying and fascinating. This is a masterfully crafted film, beautifully shot (even when the images are hideous) and wonderfully cut together, with flawless performances and a look and tone that feels very real. And, every now and then, there’s a bit of dark humor to lighten the mood. Movies don’t get much better than The Texas Chain Saw Massacre.

Highlights:

• Unmatched atmosphere and realism
• Iconic characters and performances
• Masterful direction and editing

Weaknesses:

• Minimal. Its roughness is part of its power

Texas Chainsaw Massacre Timeline Breakdown

Because the franchise has multiple retcons, several timelines branch off from the 1974 original.

Original Timeline:

• The Texas Chain Saw Massacre (1974)
• The Texas Chainsaw Massacre 2 (1986)
• Leatherface: Texas Chainsaw Massacre III (1990) – loose continuity

Remake Timeline:

• The Texas Chainsaw Massacre: The Beginning (2006)
• The Texas Chainsaw Massacre (2003)

Reboot Timeline:

• Leatherface (2017)
• The Texas Chain Saw Massacre (1974)
• Texas Chainsaw 3D (2013)

Kim Henkel Branch:

• The Texas Chain Saw Massacre (1974)
• Texas Chainsaw Massacre: The Next Generation (1994)

Netflix Legacy Sequel Branch:

• The Texas Chain Saw Massacre (1974)
• Texas Chainsaw Massacre (2022)

Final Verdict

The Texas Chainsaw Massacre franchise is wildly inconsistent, but at its best, it delivers some of the most intense horror ever put on screen. While many sequels experiment (and sometimes fail), the 1974 original remains the gold standard that no entry has truly surpassed.

How would you rank the Texas Chainsaw Massacre movies? Let us know by leaving a comment below.

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Deadline reports that Nicolas Winding Refn‘s first feature directorial effort in ten years, a serial killer thriller called Her Private Hell, has secured a summer release date, with NEON planning to give the film a “moderate release in 800 to 1,200 theaters” on July 24th. The film has stayed shrouded in secrecy up to this point, but we’ll be hearing a lot more about it very soon, as it’s scheduled to make its world premiere at the Cannes Film Festival later this month in the out-of-competition section.

Who’s in Her Private Hell?

Last year, we heard that Sophie Thatcher (Companion), Kristine Froseth (Sierra Burgess Is a Loser), Havana Rose Liu (No Exit), Charles Melton (Warfare), Dougray Scott (Mission: Impossible II), Diego Calva (Babylon), Aoi Yamada (Perfect Days), Shioli Kutsuna (Deadpool & Wolverine), and Hidetoshi Nishijima (Drive My Car) star in the film. Details on the characters they’ll be playing have not been revealed

What is Her Private Hell about?

Deadline hears that the movie has myriad storylines, but fires up in a metropolis future where actresses are gathering at a posh hotel where they’re set to make a Barberella-like movie. A heinous killer known as Leather Man is going around the city taking the lives of women.

Refn directed from a screenplay he wrote with Esti Giordani, whose credits include the TV shows The Skinny, I Love Dick, Room 104, Vida, and Stick

Although ten years have passed since Refn’s previous movie, Neon Demon, he has been keeping busy outside of the feature world. In addition to making made two streaming noir series (Prime Video’s 2019 Too Old to Die Young and Netflix’s 2022 Copenhagen Cowboy), he has also been a brand filmmaker for Prada, making shorts like 2022’s Touch of Crude.

The director is best known for making the 2011 film Drive. His other credits include Pusher, Bleeder, Fear X, Pusher II, Pusher III, Bronson, Valhalla Rising, and Only God Forgives. He was also one of the many directors who contributed to the “surreal and psychedelic journey” known as Circus Maximus. Although none of the projects he has made since Drive have been able to match the success or popularity of that film, he has made sure to remain a director worth keeping an eye on.

Her Private Hell‘s summer release date sends it out into the world right in between the releases of Christopher Nolan’s The Odyssey on July 17th and Marvel’s Spider-Man: Brand New Day on July 31st. Are you looking forward to the movie? Let us know by leaving a comment below.

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At one point in time, Steven Spielberg was set to direct the thriller Cape Fear, while Martin Scorsese was attached to direct the historical drama Schindler’s List. Then Scorsese decided to step away from Schindler’s List, a choice that coincided with Spielberg deciding that Cape Fear was too violent for him. So the directors traded movies – resulting in Scorsese directing Robert De Niro and Juliette Lewis to Oscar nominations for Cape Fear and Spielberg turning Schindler’s List into a Best Picture winner. Now, Spielberg and Scorsese are teaming up to executive produce a TV series adaptation of Cape Fear for Apple TV+, with Nick Antosca on board as executive producer and showrunner – and Apple TV has decided to show off the new faces of fear with a batch of posters, which can be seen at the bottom of this article.

What’s this Cape Fear about?

This version of Cape Fear stars  Amy Adams (Man of Steel), Patrick Wilson (The Conjuring), and Javier Bardem (Skyfall).

Coming our way from Amblin Television and UCP, a division of Universal Studio Group, the series is said to be “as an unconventional take on the IP” that turns the story into a tense, contemporary thriller that examines America’s obsession with true crime in the 21st century. In it, a storm is coming for happily married attorneys Anna (Adams’ character) and Tom Bowden (Wilson) when Max Cady (played by Bardem), a notorious killer from their past, gets out of prison. The story will be told over the course of ten episodes.

Adams, Wilson, and Bardem are joined in the cast by Ron Perlman (Hellboy), Ted Levine (The Silence of the Lambs), Margarita Levieva (Daredevil: Born Again), CCH Pounder (Tales from the Crypt: Demon Knight), Anna Baryshnikov (Love Lies Bleeding), Jamie Hector (Bosch), Lily Collias (Good One), Joe Anders (Bonus Track), and Malia Pyles (Pretty Little Liars: Original Sin). Levieva is taking on a role that was previously assigned to Clara Wong (The Eyes of My Mother). It’s not clear why the recasting was necessary.

What’s the history of Cape Fear?

The Cape Fear story began with a novel called The Executioners by John D. MacDonald. First published in 1957, that book received a film adaptation in 1962 that was directed by J. Lee Thompson (who was working from storyboards devised by original director Alfred Hitchcock). Released in 1991, Scorsese’s Cape Fear was a second take on the material. It’s said that Antosca has been obsessed with the Cape Fear movies since he was a kid. His previous credits include Hannibal, The Forest, Channel Zero, Brand New Cherry Flavor, Antlers, The Act, Candy, and A Friend of the Family.

In addition to Spielberg, Scorsese, Antosca, Adams, and Bardem, the Cape Fear TV series is executive produced by Alex Hedlund of Eat the Cat and Darryl Frank and Justin Falvey of Amblin Television, plus Morten Tyldum, the director of the first episode.

When does Cape Fear premiere?

The Cape Fear TV series is scheduled to begin streaming on Apple TV+ on June 5th. Will you be watching? Take a look at the posters, then let us know by leaving a comment below.

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Last year, Ben Leonberg made his feature directorial debut with a haunted house movie called Good Boy, which had the unique approach of being told from the dog’s perspective. JoBlo’s own Tyler Nichols gave Good Boy a 7/10 review that you can read HERE. Now, Deadline reports that Leonberg has set up his second feature, and he’s also taking a unique approach to this one: it’s a horror project called Follow Mode, and it’s going to be shot entirely with drones!

What is Follow Mode about?

Scripted by Leonberg and Alex Cannon, who also co-wrote Good Boy, Follow Mode has the following synopsis:

Consumer-grade drones now come with a “hands-free” setting that automatically directs the camera to follow you – in case you’re a surfer taking your next wave, a snowboarder back-flipping off a half-pipe, or a serial killer stalking your next victim. When a group of teens knock this drone out of the sky, they discover that it contains home movies of the killer’s brutal crimes. Now, they must race to expose the killer before becoming his next victims.

Smile and Twilight producer Temple Hill is backing this one, and Protagonist will be presenting the project to potential buyers at the Cannes market. Marty Bowen, Wyck Godfrey, John Fischer, Hal Sadoff, and Ben Levine are producing the film for Temple Hill, with Protagonist Pictures’ Dave Bishop, James Pugh, and George Hamilton serving as executive producers.

What has been said about Follow Mode?

Dave Bishop, CEO of Protagonist Pictures, provided the following statement: “Temple Hill once again proves its instinct for fresh, audience-grabbing horror. Follow Mode is the kind of bold, high-concept horror that stops you in your tracks – propulsive, original and viscerally thrilling from its first frame to its last. In Good Boy, Ben proved he is a filmmaker both comfortable pushing boundaries and mastering tension. Shot entirely with drones, delivering a strikingly cinematic experience, Follow Mode offers a new perspective on terror audiences have simply never seen before. Ben has crafted a rare, diabolical treat that feels both groundbreaking and deeply unsettling.“

Leonberg had this to say: “The rise of hands-free drone technology has introduced a chilling new vulnerability to everyday life—anyone with a drone can become a peeping tom, a stalker, or worse… That anxiety drives Follow Mode. We’re so thrilled to be partnered with Temple Hill, whose track record in the genre makes them a perfect fit for this unsettling new take on found footage.“

Temple Hill added, “We were blown away by Ben’s first film Good Boy and its original approach to perspective in the horror space and sought him out to find something to do together. We see Follow Mode as the next evolution of the found footage movie – playing on the terrifying reality that any of us could be followed and watched by store-bought technology. With Ben’s tremendous vision and expertise in POV filmmaking, we couldn’t be more excited to share this spine-chilling project with audiences around the world.“

Are you glad to hear that Good Boy director Ben Leonberg has set up his next feature? What do you think of the fact that it will be shot entirely with drones? Share your thoughts on Follow Mode by leaving a comment below.

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Saw is the series that just won’t stop. Some horror fans love these movies, others write them off as nothing but torture porn, but movie-goers usually show up to give them healthy box office returns. Not only did the most recent film, Saw X, wind up making over $100 million worldwide, but it also earned the franchise’s best reviews since the original. Now, Blumhouse Productions is gearing up to show us what they can do with the property. But, how does the entire series rank? You can check out our Saw Movies Ranked list below – then let us know how you would rank the movies by leaving a comment!

Saw Movies Ranked (Worst to Best)

• 10. Saw 3D (2010) – Worst entry, messy finale
• 9. Jigsaw (2017) – Repetitive and forgettable reboot
• 8. Saw V (2008) – Strong moments, weak overall story
• 7. Saw IV (2007) – Convoluted but expands mythology
• 6. Saw III (2006) – Dark, emotional, but unpleasant
• 5. Saw VI (2009) – Surprisingly fun with social commentary
• 4. Spiral: From the Book of Saw (2021) – Refreshing standalone
• 3. Saw X (2023) – Strong return with character focus
• 2. Saw II (2005) – Bigger sequel
• 1. Saw (2004) – Best overall, genre classic

10. SAW 3D (2010)

Why it ranks here: A rushed, messy finale that fails to deliver a satisfying conclusion.

What works:

• Bringing back Dr. Gordon was a smart idea
• Some of the most ambitious traps in the series

What doesn’t:

• Disjointed story due to last-minute director change
• Weak payoff for Hoffman’s arc
• The fake Jigsaw survivor storyline feels irrelevant

Bottom line:
Despite its scale, Saw 3D is an underwhelming and chaotic ending to the original run.

Envisioned as the “Final Chapter”, the seventh Saw movie was released in 3D so it could throw some of the biggest, most over-the-top traps of the franchise right in the viewer’s face. Saw 3D was directed by Saw VI’s Kevin Greutert, who was forced to replace Saw V director David Hackl just two weeks before filming was to begin. A move like that is just asking for a mess, and that’s exactly what the finished film turned out to be. A mess. Bringing Dr. Lawrence Gordon / Cary Elwes from the first movie back for the “last one” was a good idea, but it could have been handled better. The storyline following a guy who lied about being a Jigsaw survivor as he’s put to the test feels irrelevant. The way-too-long saga of Jigsaw’s follower Mark Hoffman is finally brought to an end, but in the most underwhelming way possible. He deserved worse.

9. JIGSAW (2017)

Why it ranks here: A failed attempt to reboot the franchise that repeats old ideas without adding anything meaningful.

What works:

• A new creative team offers a slightly different perspective
• A few traps stand out visually

What doesn’t:

• Retreads familiar twists (secret apprentice, timeline tricks)
• Forgettable characters
• Doesn’t resolve lingering questions from earlier films

Bottom line:
Jigsaw feels like a stale continuation rather than a true reinvention, making it one of the least memorable entries.

You might think the Saw franchise would be refreshed and rejuvenated after a seven year rest, with new writers crafting the story and new directors (Michael and Peter Spierig) at the helm. But Jigsaw feels like just another in the previous line of sequels, and even falls into the same traps that dragged down the series the first time around: timeline tricks, flashbacks, forgettable characters going through a bunch of traps, and a secret apprentice. Questions left unanswered at the end of Saw 3D remain unanswered, as Jigsaw goes off in its own direction with a new Jigsaw follower we had never seen or heard of before. The most memorable thing about this movie is the fact that there’s a trap involving lazers at one point.

8. SAW V (2008)

Why it ranks here: A sluggish installment that prioritizes lore over engaging storytelling.

What works:

• The Strahm vs. Hoffman dynamic adds tension
• The tracheotomy trap is one of the franchise’s most memorable moments

What doesn’t:

• The group trap storyline lacks emotional investment
• Heavy reliance on flashbacks slows pacing
• Feels like it’s going through the motions

Bottom line:
While it has standout moments, Saw V is ultimately a dull and overextended chapter in the saga.

Now we know that Mark Hoffman is the apprentice carrying on Jigsaw’s work, and FBI agent Peter Strahm is figuring this out as well. While Hoffman and Strahm play cat and mouse through dimly lit scenes, there’s also a group of five people going through a series of tests / traps. But it’s difficult to care what’s going on with them when the real focus of the movie is Strahm’s pursuit of Hoffman and flashbacks to Hoffman being recruited by Jigsaw. Directed by David Hackl (who was production designer and/or second unit director on previous sequels), Saw V has one of the coolest moments in the franchise – Strahm giving himself a tracheotomy with a pen to survive a water trap – but otherwise feels like it’s just trudging through the motions. It’s a dull, tired entry in the franchise. Which isn’t surprising, since they were pumping these sequels out so quickly.

7. SAW IV (2007)

Why it ranks here: Expands the mythology but pushes the series deeper into convoluted territory.

What works:

• Deeper exploration of Jigsaw’s backstory
• Continues the franchise’s expanding narrative

What doesn’t:

• Overcomplicated storytelling
• Increasing reliance on twists and timelines
• Begins the “soap opera” phase of the series

Bottom line:
Saw IV adds to the lore but sacrifices clarity, marking the point where the franchise becomes overly convoluted.

Saw II and III director Darren Lynn Bousman stuck around for this sequel, but the story came from a new team of writers who had to figure out how to continue the franchise now that Jigsaw and his apprentice Amanda (Shawnee Smith) were dead. One choice was obvious: Jigsaw needed a new apprentice. But some other choices were unexpected, like the fact that they still have Donnie Wahlberg hanging around as Saw II’s Eric Matthews, six months after he appeared to be as good as dead. They also dive deeper into Jigsaw’s back story than ever before, giving him even more reasons for getting into the business of making death traps. Terminal cancer and a car accident / failed suicide attempt weren’t the only things that drove him over the edge, there was also a tragic romance and a lost child. This is when the Saw franchise becomes a convoluted, gory soap opera, which is part of its charm as far as some fans are concerned.

6. SAW III (2006)

Why it ranks here: A bold and emotional entry that’s weighed down by its extreme bleakness.

What works:

• Strong emotional core centered on grief and forgiveness
• High-stakes narrative involving Jigsaw’s survival
• Memorable and intense traps

What doesn’t:

• Excessively dark and unpleasant tone
• Some traps feel more grotesque than meaningful

Bottom line:
Saw III tells a compelling story but is so bleak and brutal that it becomes difficult to revisit.

Franchise creators James Wan and Leigh Whannell still receive executive producer credits on every new Saw movie, but their creative involvement with the series really ended with Saw III. And they saved the grossest for last. Even Whannell was reportedly sickened by the sight of the traps in this one, which feels much darker and meaner than its predecessors. And includes a trap that involves rotten pig guts. While the terminally ill Jigsaw and his apprentice Amanda are forcing a surgeon to give him brain surgery, a grieving man played by Angus Macfadyen is made to go through rooms where he has to decide whether or not to save people connected to his son’s death in a drunk driving incident (the driver, the witness who didn’t testify, the judge who gave a lenient sentence). This is a bleak, ugly movie that tells an interesting story, but it’s really not pleasant to sit through.

5. SAW VI (2009)

Why it ranks here: A surprisingly strong late sequel that injects energy and social commentary into the formula.

What works:

• Unique focus on a health insurance executive adds thematic depth
• More engaging and “fun” tone compared to earlier entries
• Creative traps tied to moral choices

What doesn’t:

• Continued reliance on Hoffman as the central villain
• Still weighed down by unnecessary flashbacks

Bottom line:
Saw VI stands out as one of the better sequels, offering a fresh angle even as it remains tied to the franchise’s baggage.

Mark Hoffman is not an interesting villain, and it’s really annoying to watch multiple movies of him slipping out of situations you hope will remove him from the franchise. But while we’re still stuck with Hoffman and we’re still being shown a ridiculous amount of flashbacks designed to answer questions we didn’t even know to ask (three movies later, we’re still getting details about what was going on in Saw III), Saw VI does manage to be a step up from a few previous installments. Director Kevin Greutert, who edited the previous films, made a movie that brings an element of fun back into the proceedings, and the screenwriters had the great idea of putting a health insurance executive from Jigsaw’s past at the center of the games being played in this one. Unfortunately, Saw VI was the least successful Saw up to this point because movie-goers were giving up on the franchise.

4. SPIRAL: FROM THE BOOK OF SAW (2021)

Why it ranks here: A refreshing standalone that breaks away from the franchise’s tangled continuity.

What works:

• Simpler, more straightforward story
• Chris Rock brings a different energy to the series
• Doesn’t rely heavily on past mythology

What doesn’t:

• Villain lacks impact
• Tone can feel uneven when shifting between humor and seriousness

Bottom line:
Spiral works best as a standalone thriller, offering a break from the franchise’s increasingly complex timeline.

Saw II, III, and IV director Darren Lynn Bousman returned to direct this entry about a Jigsaw copycat. Sort of the Friday the 13th: A New Beginning of Saw movies. Chris Rock stars as a detective trying to figure out who keeps killing cops with elaborate traps, and his performance is at its best when he’s cracking jokes. When Rock tries to be serious and intense, it’s not quite convincing. Samuel L. Jackson plays his dad, who gets stuck in a trap along the way – and it is fun to see an icon like SLJ strung up in a Jigsaw-style device. Other than the traps and references to Jigsaw, Spiral: From the Book of Saw has little to do with other Saw movies… which was kind of refreshing at this point. There’s no reason to worry about continuity, you can just sit back and take it in as a simple, straightforward revenge movie.

3. SAW X (2023)

Why it ranks here: A strong return to form that refocuses the story on Jigsaw himself.

What works:

• Character-driven approach centered on John Kramer
• Simpler timeline avoids unnecessary confusion
• More emotionally engaging than most sequels

What doesn’t:

• Still part of a messy timeline
• Some familiar formula elements remain

Bottom line:
Saw X revitalizes the franchise by stripping things back and putting the focus where it belongs: on Jigsaw.

I find several of the Saw sequels tough to sit through. Not because of the violence and gore, but because they get bogged down with excessive flashbacks, timeline tricks, and soap opera-esque dramatic elements. I got so tired of that stuff, I even found the generally unpopular “spin-off” Spiral to be a refreshing entry in the franchise because it didn’t attempt to further (or further convolute) the story of John “Jigsaw” Kramer… So it’s surprising to find that Saw X was able to get me interested in another Jigsaw story – and it was able to do so by jumping back in time, being set in between the first and second movies. Before the franchise got so messy. This time Jigsaw himself is the star and we follow him as he falls prey to a medical scam, then gets revenge on the scammers by playing his usual games with them. Not only was this the most enjoyable Saw sequel in quite a while, it was also the first time I had any interest in John Kramer as a character. In the other movies I always found him to be a pompous, hypocritical ass.

2. SAW II (2005)

Why it ranks here: A smart and effective sequel that successfully expands the original concept.

What works:

• Expands from a single room to a larger, more complex game
• Strong tension between Jigsaw and Detective Matthews
• Memorable traps like the syringe pit

What doesn’t:

• Slightly less tight than the original
• Relies more on scale than precision

Bottom line:
Saw II builds on the original in meaningful ways, delivering a bigger but still engaging experience.

Like any self-respecting sequel, director Darren Lynn Bousman’s Saw II takes the concept introduced in the first movie and goes bigger with it. Instead of two people trapped in a room we get seven people trapped in a house, hit with nerve gas and forced to participate in a series of games that have been set up throughout the rooms so they can retrieve vials of antidote. While they’re playing their games, deeply flawed detective Eric Matthews and a SWAT team have stormed a warehouse and caught Jigsaw himself… and yet Jigsaw, who we learn more about this time around, still manages to be in control of the situation. The traps are gruesome and cringe-inducing (the syringe pit is one of the most memorable moments in the series), but there’s still a sense of fun to the sequel. It doesn’t feel as bleak and mean-spirited as future installments in the franchise would.

1. SAW (2004)

Why it ranks here: The original remains the most effective and iconic entry in the franchise.

What works:

• Simple but brilliant concept
• Strong performances and tension
• One of the most memorable twists in horror history

What doesn’t:

• Lower budget limits some production elements

Bottom line:
Saw is a modern horror classic that proves simplicity and strong storytelling can outshine even the most elaborate sequels.

The Saw franchise has become so big and convoluted, you might forget that it all started with a simple little serial killer thriller. Director James Wan and screenwriter Leigh Whannell came up with an idea they could bring to the screen for very little money: two men trapped in a room with chains on their ankles and hacksaws at hand. Then they built a fascinating story around those two men. The story of the Jigsaw Killer, who forces victims to play dangerous “games” to decide their fate. Most of them don’t survive. There’s also a mother and daughter being held at gunpoint, an obsessed detective chasing the wrong suspect, and a Jigsaw survivor who is grateful for the experience. And a jaw-dropping twist. Even if no sequels had ever been made, we’d still be talking about Saw as a classic thriller along the lines of Seven.

Final Thoughts

The Saw franchise starts as a tight, inventive thriller, peaks early with Saw II, then spirals into increasingly convoluted sequels before finding new life with Saw X. While later entries lean too heavily on timelines and twists, the series at its best delivers clever concepts, memorable traps, and one of horror’s most iconic villains.

Saw Movies Comparison

Movie	Rank	Strength	Weakness
Saw	1	Original concept, twist	Low budget limits
Saw II	2	Expands concept	Less tight than original
Saw X	3	Character focus	Still part of the messy timeline
Spiral	4	Standalone story	Weak villain
Saw VI	5	Social commentary	Hoffman fatigue
Saw III	6	Emotional weight	Extremely bleak
Saw IV	7	Mythology expansion	Overly convoluted
Saw V	8	Strong moments	Dull pacing
Jigsaw	9	New attempt	Repetitive formula
Saw 3D	10	Big scale	Messy execution

The post Saw Movies Ranked: From Worst to Best appeared first on JoBlo.

Two years have passed since it was announced that a reimagining of the 1999 hit The Blair Witch Project was moving forward under the guidance of Blumhouse Productions – and now, the project has officially found its director: Dylan Clark. A press release has been sent out to confirm that Clark is going to be directing the new Blair Witch Project, and is rewriting the script by Chris Devlin. This press release also reveals that Joshua Leonard and Michael C. Williams, two of the original stars of The Blair Witch Project, as well as the original filmmakers, Eduardo Sánchez, Daniel Myrick, and Gregg Hale, will serve as executive producers on the film, “bringing the full mythology and legacy of the franchise to a new generation of storytelling.“

Oddly, Leonard and Williams’ co-star Heather Donahue is not on the list of executive producers.

Who Is Dylan Clark?

If the name Dylan Clark isn’t familiar to you, that may be because Clark hasn’t made a feature film yet. Four months ago, it was reported that Clark is set to make his feature directorial debut with the horror thriller Portrait of God, which is coming our way from Universal Pictures and producers Sam Raimi and Jordan Peele. Written by Clark and Joe Russo (The Inheritance), that movie will be an expansion of Clark’s short film of the same name.

Plot details are being kept under wraps for the time being, but the short follows a religious young woman who discovers the answer to the question, ‘What does God look like?’

Peele is producing Portrait of God alongside Win Rosenfeld through Monkeypaw Productions, with Raimi and Romel Adam producing through Ghost House Pictures.

Clark is also writing to direct an adaptation of his short film Story Time, with Zak Olkewicz and LD Entertainment producing.

Who’s Behind the New Blair Witch?

As for the reimagining of The Blair Witch Project, Atomic Monster’s James Wan and Blumhouse’s Jason Blum are producing the film with Roy Lee, who previously produced the 2016 film Blair Witch. The idea is that this reimagining could kick off a series of Blair Witch movies, taking the franchise into a new era.

Adam Hendricks and Greg Gilreath are producing for Divide/Conquer. Steven Schneider is an executive producer. Michael Clear and Judson Scott are executive producing for Atomic Monster, with Alayna Glasthal overseeing for the company. Scott O’Brien and Pavan Kalidindi are overseeing the project for Lionsgate.

Lionsgate and Blumhouse have made a multi-picture pact that will see Blumhouse reimagining horror classics from the Lionsgate library – and the development and production of a new The Blair Witch Project is the first project on that slate.

When the project was announced, Heather Donahue, Joshua Leonard, and Michael C. Williams were inspired to start speaking up about the fact that they had never been properly financially compensated for the roles they played into turning the original film into a massive hit that spawned a franchise. They let it be known they they want to receive residuals “equivalent to the sum that would’ve been allotted through SAG-AFTRA, had we had proper union or legal representation when the film was made” and they want to be consulted on any future Blair Witch installments… and it sounds like their demands have been met. Several months ago, Williams made a post to social media to confirm that he had buried the hatchet with Lionsgate and Blumhouse. And now, he and Leonard are executive producers on the new film.

Are you glad to hear that the original film’s stars and filmmakers are involved with Blumhouse’s reimagining of The Blair Witch Project? Share your thoughts on this one by leaving a comment below.

The post The Blair Witch Project reboot adds the original film’s stars and filmmakers as executive producers appeared first on JoBlo.