13 game sayawng

They say there's nothing new under the sun. This is especially pertinent to cinema, where originality is often hard to come by. Christopher Booker has posited that there are only seven plots, and whether or not he's correct, the same basic premises do crop up again and again. Within the horror and thriller genre, there have been so many films where someone does increasingly stupid, violent or humiliating acts for money, it's practically a subcategory. From 'Would You Rather' and 'The Odds' to 'Cheap Thrills' it's a story we've all seen numerous times.

Chookiat Sakveerakul's '13: Game of Death' (otherwise known as '13 Beloved') was somewhat ahead of the pack, arriving in 2006- long before the likes of the aforementioned films. It follows Phuchit, a young man whose day couldn't be going much worse. After losing both his car and job, he receives a mysterious phone call, offering the chance to win a substantial amount of money. Phuchit then finds himself drawn into a twisted game of escalating degradation and violence, that promises fortune, but may strip him of everything else.

It's a wild ride, navigating a tightrope between psychological horror and black comedy. Based on a comic book by Eakasit Thairaat, Sakveerakul's narrative is tense, gradually building towards a shocking conclusion. Although at times a little unpolished, it is engaging, visceral and frequently gory. Further, unlike other similar films, that lean into sadism for its own sake, it aims higher. Sakveerakul doesn't just want to make you squirm- he wants you to think while you do.

The tasks Phuchit undertakes aren't just about pushing boundaries and glorifying the grotesque, but are a commentary on social inequality and the commodification of suffering. The film plays like a bleak satire of late-stage capitalism, where humiliation is currency and dignity the first casualty. A fever dream of economic desperation and voyeuristic glee, it works as a grim diagnosis of a society willing to sell its soul for a payout; a reflection, perhaps, of Thailand's socio-economic anxieties of the time.

The film also functions as a sharp critique of reality television. Though it predates the explosion of social media-driven spectacle, its depiction of a man manipulated into degrading himself for an unseen, voyeuristic audience feels eerily prescient. Phuchit's suffering is rewarded, packaged, and consumed- his ordeal mirroring the cynical mechanics of exploitative entertainment, where pain is monetized and choice is more illusion than reality.

From a technical perspective, the film doesn't rely on flashy visuals or over-stylised sequences. Instead, Chitti Urnorakankij's cinematography opts for a naturalistic approach, grounding the film in a gritty realism making Phuchit's descent into depravity feel all the more immediate. The camera often sticks close to him, amplifying his growing sense of paranoia and entrapment. There's a lived-in texture to the visuals- dim lighting, cramped interiors and handheld shots all serve to immerse the viewer in his increasingly claustrophobic world.

Additionally, the sound design enhances the tension with subtle ambient noises- an ominous hum or distant city murmur- heightening the unease of proceedings. Conversely, silence in key moments deepens the emotional punch. Further, Kitti Kuremanee's score blends eerie tones with bursts of intensity, heightening the film's impact. In addition, it is sharply edited and has a good pace that never lets up.

Krissada Sukosol stars as Phuchit, anchoring the film with a mix of vulnerability, desperation and growing disillusionment. He's not a traditional horror protagonist, but an ordinary man gradually hollowed out by extraordinary circumstances. Sukosol's expressive physicality- at times twitchy, at others eerily calm- mirrors the psychological toll of the tasks, while his subtle emotional shifts keep us tethered to his experience, even as the challenges grow more extreme.

Achita Sikamana is similarly good as Tong, Phuchit's only real ally. Her performance brings a quiet warmth and grounding presence to the film, a necessary counterpoint to the unfolding chaos. Though her screen time is more limited, Sikamana leaves an impression; conveying empathy and resolve in a story otherwise dominated by manipulation and moral erosion. The rest of the supporting cast, though with far less to do, cannot be faulted.

Chookiat Sakveerakul's '13: Game of Death' more than earns its place in the canon of horror-inflected social satire. What it lacks in polish, it makes up for in thematic ambition and nerve. With its naturalistic style, sharp sense of pacing and strong performances, it's a film that lingers. Whether viewed as satire, a cautionary tale or grotesque morality play, Sakveerakul's vision cuts deep. In short, '13: Game of Death' is a game worth playing- if you've got the stomach for it.

Out of another great edition of FantAsia, this film received the PUBLIC'S GOLDEN PRIZE - BEST Asian FILM. A well deserved title with a well crafted storyline and fine acting.

The premise of the movie is that of a deadbeat salesman who is in debt and in desperate need of money... as well as deeper needs such as love, hope, sense of purpose, etc. He gets a targeted phone call that invites him to play a secret game in order to win incremental amount of money all the way to the grand prize: 100 million bahts. At first he will have to kill an insect which he does without to much problem. The twelve other challenges are likely to be a bit more difficult to achieve in order to bank the jackpot, but this guy has nothing to lose and seems to be going along with the game as he sees money as the answer to most of his problems and pushing his limits by succeeding in this game as some well-needed sense of accomplishment.

So the movie relies heavily on Krissada Terrence playing the protagonist, Pusit, and making us go through the motions and the emotions. His is a very capable actor and was well casted and directed to give a fine performance that reaches out to the sympathizing viewer. As for the rest of the cast, they are also of fine caliber. They bring to life this solid script cohesively and captivate the audience with the help of well-timed editing and a definitive storytelling know-how by screen-writer/director Ma-Deaw Chukiatsakwirakul (Chookiat Sakweerakul )

Based on a comic, the transition to screen is surprisingly realistic and the story is well explored in all its humour and twisted horror. The game concept reminds us of the Saw trilogy (2004,2005&2006) and has similar elements on top of the reality TV references a la Fear Factor. At times, we are also reminded of Falling Down (1993)'s similar slow fall and emotional meltdown.

Trying to conclude this wild ride is tricky and we are left with diverse elements that are not necessarily captivating or as original as the rest of the film on their own merit--nor are they out of place--, but tied together provide the base for the ending that does not disappoint.

A clever movie that easily make you embark on a journey that can only be slowly but surely spiraling down. So where is the point where you lose control and what happens if someone else loses it for you?

A thin line between deprived and deranged.

Thailand 2006 | 113 min | 35mm Thai language (English subtitles)

A surprisingly decent little Thai thriller that comes across as a mix of FALLING DOWN and DIE HARD WITH A VENGEANCE, 13: GAME OF DEATH is unique in that it offers something from a country that we haven't seen before. Most Thai movies I watch are typically poor vengeful ghost style movies that lack a single iota of originality, but this film has a lot more going for it. It's pretty well made too, with director Chookiat Sakveerakul eliciting plenty of suspense from his premise and a fair amount of good twists as the narrative progresses.

This isn't a perfect film by any stretch of the imagination. The script is fast-paced and witty, yes, and the liberal sprinklings of blackly comic humour definitely add to the experience to make it more palatable. You may be inclined to think there's at least one too many twists come the unsatisfactory end, though. In addition, and this comes as no surprise, the characters are underwritten; the writer allows Krissada Sukosol's protagonist to develop through the nature of his experiences, but it's not enough to elicit any sympathy in the viewer in the same way as, say, Michael Douglas's character did in FALLING DOWN.

Still, there's plenty of intensity here, and the anything-goes premise means that we're in for plenty of incident even if some of it is lacking. The 'well' set-piece, clearly derived from RING, is a real stand-out, while the restaurant scene will be sure to test the stomachs of even the toughest viewer, coming across as an extreme and timely version of a certain reality TV gameshow, I'M A CELEBRITY...GET ME OUT OF HERE! There's also at least one ultra-gory CGI effect that had me genuinely shocked with its realism and effectiveness. No, 13: GAME OF DEATH isn't perfect…but it is a great deal of fun, and one of the freshest and most inventive Thai movies I've seen in a while.

Putting the quote 'From the makers of Ong Bak and Chocolate' on the front cover has no doubt led many fight fans to believe that this is another action-packed film from Thailand, but unfortunately, that is not the case. Instead we are given one of the best Thai films in recent years - a twisted thriller, filled with dark comedy and violence galore that takes the Baa-Ram-Ewe Studio to another level!

I really like 13: Game of Death. Its been a while since I first watched it, and actually forgot how well made, directed and entertaining it all is. Like a ramped up version of Michael Douglas' fantastic film, Falling Down, this Thai flick starts off on a light jog then doesn't take long before breaking into a full sprint - shocking and surprising its audience along the way as poor Chit accepts challenge after challenge, with each one getting worse along the way.

Each role is pretty well acted, but main star Krissada Sukosol owns it. He plays Chit perfectly, full of emotion and keeps you glued to the screen every second he's on it - seeming like he is channelling the energy of a young Another Wong from the golden years of Hong Kong cinema! While only having appeared in a handful of films as I write (this being his third), I'd like to see Krissada go a long way and make a bigger name for himself.

A lot of the time, Thai comedy doesn't translate too well to the Western audience, but with this, most of it actually works and comes across quite funny. I don't want to give too much away about it as the shock value and twists will be spoilt if you haven't already seen it, so go find yourself a copy of 13: Game of Death and enjoy one of Thai cinema's better offerings before someone ruins it for you...

Overall: Fast paced, shocking and funny, 13: GOD is one of the best films to come out of Thailand to date!

A surprisingly excellent production from Thailand. This movie tells the story of a loser/loner who just got fired, had his car repossessed, is in credit card debt, and has an overbearing mother who needs money and suddenly gets a call inviting him to play in a game that could make him rich. The game consists of 13 challenges, the completion of each entails a money transfer into his bank. If he completes the final challenge he would get a very large sum of money. But he has to complete all challenges and not try to find out who is behind the game.

The challenges range from mild to disgusting to violent. While initially the movie doesn't seem to fit into the "Dimensions Extreme" line because for a good while it lacks gore, nudity, violence that are required for a good horror movie, this one is a little more psychological and a lot more story-based. Also at some point you start wondering what the point of all this is and then the movies gives a hint, a glimpse into out character's childhood that will be important for the end of the movie. Speaking of the end, it has a couple of surprise twists and explanations. The man's childhood and family will be key and are related to the final challenge. In addition there is some sort of revealing of who's behind all this that isn't entirely satisfying, but the point here is to get the audience to imagine...what if...and what our price would be, if it is true that we all have a price and also how far we would go for money.

The movie succeeds in creating a very likable character that you root for. There's an obligatory female who falls for him and tries to help him, rescue him. And you will also dislike the cruel villains in the shadows. The movie, however, is not a noir film despite the hopelessness of the situations. In fact, there's a good dose of humor here and there in terms of how other characters react to what is going on and how our friend deals with the crazy things he's asked to do. This movie looks very good. Unlike American movies that rely too much on artificial colored lighting and effects like grainy looks or discolored film or disco-type lights, this one looks bright, crisp, and naturally lit. It also sounds good and has good subtitles. Recommended as a different type of horror/ psychological thriller that is effective and funny and makes you think.