With a dead body lying between them, two men wake up in the secure lair of a serial killer who's been nicknamed "Jigsaw". The men must follow various rules and objectives if they wish to survive and win the deadly game set for them.
Tom returns to his hometown on the tenth anniversary of the Valentine's night massacre that claimed the lives of 22 people. Instead of a homecoming, however, Tom finds himself suspected of committing the murders, and it seems like his old flame is the only one will believes he's innocent.
As a deadly battle rages over Jigsaw's brutal legacy, a group of Jigsaw survivors gathers to seek the support of self-help guru and fellow survivor Bobby Dagen, a man whose own dark secrets unleash a new wave of terror.
A masked killer begins murdering teenagers in a small town, and as the body count rises, one girl and her friends contemplate the "rules" of horror films as they find themselves living in a real-life one.
Professor Henry Jarrod is a true artist whose wax sculptures are lifelike. He specializes in historical tableau's such a Marie Antoinette or Joan of Arc. His business partner, Matthew Burke, needs some of his investment returned to him and pushes Jarrod to have more lurid exposes like a chamber of horrors. When Jarrod refuses, Burke set the place alight destroying all of his beautiful work in the hope of claiming the insurance. Jarrod is believed to have died in the fire but he unexpectedly reappears some 18 months later when he opens a new exhibit. This time, his displays focus on the macabre but he has yet to reproduce his most cherished work, Marie Antoinette. When he meets his new assistant's beautiful friend, Sue Allen, he knows he's found the perfect model - only unbeknown to anyone, he has a very particular way of making his wax creations. Written by
HOUSE OF WAX established Vincent Price as a horror film icon. He's never hammy here. He's best when describing gruesome details (like torture or murder) with a slight grin, as if he's building to a punchline. Crane Wilbur's screenplay has well researched details (regarding how wax sculpting works, the effects of chemical burns for example) improves on the 1933 original. Here Vincent Price plays Henry Jerrod, a wax sculptor whose first try at a wax museum meets the same infernal end as Atwill's museum in the first film. 12 years later, Jerrod opens a new museum. One of his intern sculptors dates a model, Sue (Phyllis Kirk) who is hounded by a mysterious man with a distorted face. In the original film version, made in 1933, Fay Wray plays a beautiful, but uninteresting damsel in distress. Phyllis Kirk fills Fay Wray's part here, and man, is she even more boring! But don't worry, you have plenty of Vincent to make this DVD worthwhile. It's easy to find in a bit part, young Charles Bronson (billed here as Charles Buchinsky) as one of Jerrod's s interns. HOUSE OF WAX's most famous element is that it was made in 3-D. This new gimmick, meant to lure television viewers back to the box office was novel, but it had it's kinks. (Warner Brothers improved the process a year later with the 3-D release of Hitchcock's DIAL M FOR MURDER, and yet another period horror film, PHANTOM OF THE RUE MORGUE.) The most amusing 3-D moment in HOUSE OF WAX has almost nothing to do with the story. A carnival barker, (played with crowd-pleasing energy by Reggie Rymal) constantly whacks a paddle-ball outside the wax museum, while heralding the museum's opening night thrills. He faces the camera (meaning us) and says `You! With the popcorn. Hold still.' and he proceeds to repeatingly whack the ball at the camera. HOUSE OF WAX is a lot of fun, and was a big hit at the time. The DVD does not come with a 3-D Process, but it does come with coverage of HOUSE OF WAX's Hollywood Premier. It's attended by Bela Lugosi and friend, Jack Warner, and Ronald Reagan (See, even Presidents watch horror movies!)
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