13 Desafios

This is probably the best Thai thriller I've seen so far, and I've seen a bunch. Pusit has lost just about everything, his job, his girlfriend, his home, not much left. Then out of the blue he gets a call on his cell phone, telling him he has won the right to compete on a game show, and he can make huge sums of money. The game, is to complete 13 tasks presented by the show via his cell phone, but he has to complete all 13 with money going into his account after each task is completed. Pusit decides to play and off we go on a journey with Pusit that is at times stomach churning for the audience. The first task is pretty easy and Pusit is feeling good about things, but then they start to become very intense and towards the end terrifying. I could feel the tension as this movie goes along, it's along the lines of a good Hitchcockian suspense thriller. More than one of these tasks is very shocking and brutal to say the least, but Pusit is committed and turning back means losing everything again, something he cannot do. So he's hooked, and so are we as one shocking scene after scene builds up to an excellent climax. Put this baby on your want list immediately, you'll love it. I've never seen a movie quite like this one, and it's worth multiple viewings.

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.

Phuchit (Krissada Terrence) receives a phone call on the same day he loses his job at a music center. The man on the line gives him a strange offer: complete 13 different tasks and win 100 million Baht (about $3 million US). Chit agrees to take part in this 'game' and his missions commence. . . ranging from the trivial (swatting a fly) to the unthinkable (you'll see). The biggest catch: He must complete ALL the tasks. . . or lose all the money. Will he beat the game, complete all the tasks, and win the huge cash prize? Or will the game beat him, as the rest of the world has been doing as of late?

Dimension Extreme, the distributor of Diary of the Dead, Black Sheep, Inside, etc., delivers to horror fans yet another violently original new film. . . and this one is just as good as, if not better than, the aforementioned. Sadly, I did overlook it more than a few times. I'd pass it by in stores thinking that, due to its cover & plot line, it was just another of the dozen or so Saw ripoffs that have been released over the past few years. With a storyline like this, I don't blame myself. However, I was more-than-pleasantly surprised to find that the film is blurs the lines between horror, paranoia thriller, and comedy, and it does it very well, making it an unbelievably fresh and stirring film. There were times where I was equally overcome by the tension, comedy, disgust, sadness, and loathing. . . sometimes separately, sometimes together. Technically, the film is extremely well made. The direction and writing work perfectly well together, although the acting does leave a bit to be desired at some points (excluding Krissada Terrence who delivers a great, great performance). But, the thing that makes this film shine is the revelation/conclusion along with the way it was shown. . . it was so emotionally stirring that I'm surprised it's not more talked about. I suppose it's so little spoken of because it's so little seem. . . and that's a shame, because this is a truly, truly great modern horror/thriller that utilizes many different elements of both genres, including quite a bit of comedy to keep the more disturbing elements tolerable. See this one if you can.

Final verdict: 8.5/10.

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.

A film of almost unbearable suspense, who starts lightly and goes darker by the minute.

It works on various levels: as a critique of the society we live in ( the voyeurism and excessive competition), as psychological (the characters have their behavior well explained by the movie).

It is the best movie I have ever seen from Thailand.

Thai cinema is evolving and proof is Sick Nurses, an stylish exercise in horror better than most American movies and 13 Beloved, who is also very well served by its actors and director.

If you like suspense, don't miss that film