By Jonas Schwartz
A wicked black
comedy, 13 Sins asks audiences to identify with a desperate man walking
further down the plank, whittling away at his morals, playing a game that - even
if he wins - will cost everything that makes him human. Based on a Thai horror film 13: Game of Death (2006), 13
Sins has an Asian horror sense of violent escalation, but with an
All-American motif of corporate paranoia.
Elliot (Mark
Webber), a down on his luck salesman, takes a mysterious call from someone
sounding like Mr Moviefone. This caller offers him $1000 if the young man will swat
a fly.
Though the first
act is a simple one, the man on the phone continues to escalate the crimes he
demands of Elliot, and the challenges become more deranged. The coffer has also risen, yet like Who
Wants To Be A Millionaire Elliot
must continue the tasks or lose all the money he’s built up.
The caller
selects Elliot for a reason: he was at his lowest. He has just been humiliated
and fired by his pompous boss (perfectly played as a smarmy elitist by Richard
Burgi). Working in insurance, Elliot had been finding reasonable, affordable
plans for his elderly clients, while the company demands a more killer
instinct, something they mock him for lacking.
Meanwhile, Elliot
financially supports for his institutionalized brother (Devon Graye) and his
pregnant fiancée (True Blood’s Rutina
Wesley), and suddenly money has become a rope tied around Elliot’s neck.
The contests in
the film are reminiscent of drug addiction. The first challenge - like the sample
of coke or crack offered by a surreptitious dealer - takes no effort. The second takes a bit stronger stomach.
After three or
four tasks, the financially-strapped Elliot has too much money at stake to give
up. Before Elliot can catch his breath, the
killer has him committing felonies, setting him up for crimes, and making sure
that Elliot has much more at stake than merely money. The drug parallel
tightens when Elliot gets emotionally high off his crimes.
Elliot’s misdeeds
get noticed by the police in general and one detective in particular, played by
genre favorite Ron Perlman. And though the police seem to believe Elliot is on
a random spree, the detective digs deeper and discovers Elliot may not be the
only one on this path. Many other former innocent victims may have been playing
this “game” for centuries.
Director Daniel
Stamm was responsible for one of the more engrossing found footage flicks The
Last Exorcism (2010). Bothfilms display the storyteller’s unpredictability,
his macabre sense of humor, and a talent for getting compelling and strangely
genuine performances within outlandish situations.
13 Sins also contains
some heart-thumping sequences. Early in the film, Elliot demonstrates his
resourcefulness at a coffee shop to complete a trial, even if it means
infuriating several cops, all while carrying a certain illegal substance that
could land him in the gas chamber.
Near the film’s climax,
Stamm puts in play Alfred Hitchcock’s theory of suspense-versus-surprise with a
hide-your-eyes sequence involving a gang of bikers.
Stamm piles on
the gore with decapitations, scalpings, stabbings, and self-throat slittings
but always does so with a comic-book excess that perversely tickles the funny-bone
instead of the bile ducts, just as Quentin Tarantino does so often and so well.
Stamm draws from
mythology similar to X-Files with epic conspiracies,
where the players only see the tip of the iceberg and at the end, the cogs in
the big machines are barely revealed. It’s a horrible world out there and
nothing has been improved to prevent evil in the future. Like Warren Beatty in Parallax
View (1974), Elliot gets a sense of control that turns out to be a
mirage. He never had a choice; he’s a victim of fate from the start.
The cast members
ably sell the absurdity and keep the audience rooting for them even when they
cross over to their dark impulses. Webber
brings hapless humor to the role, a clumsy approach to Elliot’s trials even
when they become more repugnant. Coincidentally, in the film Elliot intersects
twice with the homeless community-- even
taking advantage of them -- and yet Webber himself is an advocate of
homeless rights, a fact which adds a subliminal self-torture in his performance
during those scenes.
Webber’s natural
charm also partially solves a hole in the script. Elliot has been described
often as a meek loser, one tortured by bullies in high school and scorned by
his company. The script adds a fiancée and soon-arriving child to add
motivation for Elliot to join the game.
But Elliot
should be a loner based on how the script has structured his character. As
played by the sassy Wesley, Shelby is a vibrant, sexy, and compassionate woman,
one who even forgives Elliot’s demolition of their rehearsal wedding dinner
before her eyes. This woman LOVES Elliot. She’s self-sacrificing, even caring for Elliot’s
cold-hearted, racist father (Tom Bower). There’s a dissonance between the Elliot the
script keeps reminding us existed before the game and the solid relationship he
already has with Shelby.
The script also
doesn’t strengthen enough the symptoms of mentally-challenged Michael, Elliot’s
brother. It is essential the audience comprehend how Michael’s mind works, how
much he can compute, and how he reacts emotionally to people. Because the script focuses mostly on Elliot’s
relationship to Michael and doesn’t clarify Michael himself, several vital plot
points remain fuzzy.
13 Sins paints a picture
of a dog-eat-dog world where people are mere currency, set-up by dark forces as
pawns, not unlike the many nameless victims in the dystopia of Death
Race 2000 [1975]. Who in the real corporate world of today
hasn’t felt like the expendable building blocks for the greedy as they climb to
success and wealth?
However, 13
Sins doesn’t leave audiences in despair. There can be redemption and
hope for those who turn away, for those who give the finger to the establishment
no matter how omnipotent that force may be.
For those who
enjoy 13 Sins, also consider
checking out the moody, claustrophobic Would You Rather starring Jeffrey
Combs as a diabolical host and Brittany Snow as another desperate sibling
responsible for a brother-in-need. There,
a dinner party turns grotesque as destitute guests are awarded money for
torturing each other.
Jonas Schwartz is a voting member of the Los Angeles
Drama Critics, and the West Coast Critic for TheaterMania. Check out his “Jonasat the Movies” reviews at Maryland Nightlife.
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