Elliot Brindle, a meek salesman, loses his job despite his debt and the people who depend on him: Michael, his mentally disabled brother; Shelby, his pregnant fiancée; and Samson, his abusive father.

The next few challenges attract police attention: making a young girl cry, arson, and scamming a homeless person with an ostrich.

When the child identifies Elliot in the police station based on wanted posters, Detective Chilcoat takes over the case.

Given a strict deadline, Elliot panics and brazenly steals a cup of coffee from a table of on-duty police officers.

Chilcoat eventually tracks down Vogler at a bar and discuss that the game's sole purpose is turning players into monstrosities at the promise of millions of dollars.

A nurse arrives and applies a local anesthetic to the man's right arm and gives Elliot an electric surgical saw.

Disgusted and mortified, Elliot quits the game, tossing the phone away before he's told the last challenge and, when he returns home, discovers that Michael is the other competitor.

To prevent his sons from experiencing the horror of losing everything closest to them from winning the game, Samson commits suicide by cutting his own throat.

Stamm wanted Elliot to grow assertive and strong, then slowly become addicted to both the game and his new persona, which causes him to not notice the increasingly negative effects on his life.

[7] Jason Blum bought the rights to 13: Game of Death and offered the remake to Stamm, who enjoyed the original film.

The studio gave him complete freedom, which Stamm said allowed him to explore his interpretation of the film and tweak tasks that he felt did not work.

For the story, Stamm was influenced by Falling Down, which he said invited the audience to identify with a protagonist who becomes increasingly assertive, only to reveal later that he is "a racist and dangerous".

Although initially eager to show off for the sake of impressing Perlman, of whom he is a fan, Stamm eventually backed off and allowed the actors to improvise their lines during filming, too.

The site's consensus reads, "13 Sins may be derivative of other horror films that made their moral points with more finesse, but it atones with a grim sense of humor and sleek style.

[15] Jeannette Catsoulis of The New York Times wrote, "A study of desperation and the evil within, Daniel Stamm's 13 Sins is an empty, efficient thriller that leaves you as cold as most of its characters.