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Knowing that John Kramer was killed in the third film just might be enough. In fact, you could just as easily disregard specifics about Saw II and Saw III, and you will probably be okay. The only traits to be aware of in those films was that John lost a child, was once in a relationship with Jill Tuck, and there was an autopsy performed on his body. Hoffman is completely out of the picture in Jigsaw, never once mentioned or concerned about. While Jurassic World actually seems to remove the sequels from canon (we will see if that's true with Jeff Goldblum's appearance in Fallen Kingdom), Jigsaw plays strongly in the sense that if you go without seeing, recalling, or keeping in mind Saw 4-7, you will be okay. Right steps were made in making this film much more accessible, and I see this continuing in the future. The framing of the film has changed, the color palette has widened, Charlie Clouser's score is not as in-your-face, and the production simply doesn't feel as cheap. Jigsaw opens up to the feeling that this is taking place in a larger city and environment, letting characters in and out of the games explore more and be realer people (in that they do not just serve the purpose of the film alone, like they have lives outside of what we see). The films also found themselves in flashback haven, remained almost exclusively within interior settings, and centralized a set of characters to connect within a small universe. While I don't agree with that assessment, this continued for his next two films in the franchise, and directors David Hackl and Kevin Greutert followed up with a similar format. When Darren Lynn Bousman jumped on board to direct Saw II, he noted in the commentary track what some of the 'staples' were for the franchise, including quick-cuts.
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Jurassic World lives in a PG-13 setting though and caved in to more Hollywood tropes (including CGI), plus is a much higher budget film, but Jigsaw still breaks a lot of new ground that will not play familiarly to the Saw films of old. Both films (Jigsaw and Jurassic World) serve as standalone films if you so want to treat them as such or jump into them anew, play off their respective first films in terms of content and paying proper homage, modernize themselves and play more to a general casual audience (Jigsaw domestically, JW globally), can and probably will churn out its own set of sequels, and let veterans of the franchises appreciate the small bits that played off any one of the previous installments. So they created some space between themselves for some years, and came back with a re-branding. JP had sequels that, while in-name they hold their own, after a while started turn away some moviegoers and even got close to jumping the shark if it continued down the beaten path. All of this follows an eerily similar path to the Jurassic Park franchise. Enter co-writers Josh Stolberg & Pete Goldfinger and co-directors Michael & Peter Spierig, and in Halloween of 2017 you get Jigsaw. Instead of reiterating, it was now time to innovate. There are die- hard Saw fans like myself who know most every little intricacy of the first seven films, but nobody cares about the old formula anymore. Now that time has past between films and new films and ideas have come out since then in the torture porn genre (I hate using that phrase, especially to describe the first film), new ground had to be broken. Each film built on the foundation of the previous film, literally deeming them as iterations of one another. From 2004 to 2010, we were greeted with a Saw film once every Halloween.