Are You in the House Alone?! is the question posed over the phone to straight-A student Gail Osborne (Kathleen Beller, The Sword and the Sorcerer) while babysitting. While anonymous and unsettling, the connection is not as iconic as the one a year later When a Stranger Calls, asking Carol Kane if she’s checked the children.

The tele-terror is merely one piece of a multitiered plan of harassment from an unknown admirer/stalker who also places threatening notes in Gail’s school locker. It puts the damper on a burgeoning romance between her and new beau Steve (Scott Colomby, the Porky’s saga), who is disliked by Gail’s high-strung mother (Blythe Danner, Meet the Parents) for breaking curfew. Worse, the badgering escalates into rape. I didn’t spoil anything, either; director Walter Grauman (Paper Man) does that in the first scene before segueing into an hour-long flashback.

This being the late 1970s, it’s suggested that Gail’s case against her attacker is a losing proposition due to her not being a virgin — an attitude every bit as dated as the atrocious hairstyles and fashions on display.

For being made for television, Are You in the House Alone?! does a fair job of building some suspense, but once the narrative circles back to the beginning, it makes a complete tonal shift from thriller to drama — and not just a drama, but one with an overly moralizing Afterschool Special feel. Viewers practically can see the seeds of many of a Lifetime movie being planted before their eyes; ultimately, the pic is most notable for giving Dennis Quaid one of his earliest roles. —Rod Lott

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In Bangkok, 32-year-old Yamaha instrument salesman Phuchit — “Chad” in the English dub — is fired at the most inopportune time: when he is in debt to the tune of tens of thousands. Potential salvation arrives in the form of an anonymous cellphone call inviting Phuchit (Krissada Sukosol, The Adventures of Iron Pussy) to play 13: Game of Death.

With a baker’s dozen of challenges, the mild-mannered Phuchit has the opportunity to win $1 million, all or nothing. Early rounds seem simple enough — swat a fly, make three children cry, rob a bum — then balloon in complexity to demented extremes, including — what else? — murder. For all the wrong reasons, the most memorable mission is the fifth, in which our desperate, depressed hero must consume a plate of feces drizzled in a beef gravy. At least I hope that was gravy; either way, the scene is a true stomach-churner, made further disgusting by the protagonist’s face and clothes bearing stains and smears from his lunch for the rest of the movie.

You may not proceed beyond that, and I can’t say I recommend anyone do. The “let’s play a game” scenario has fueled dozens of fine, credibility-stretching thrillers, but 13: Game of Death squanders its massive potential even before Phuchit’s visit to the restaurant (for which I’d love to read his Yelp! review).

Matthew Chookiat Sakveerakul (writer of the 2008 girl-powered martial-arts movie Chocolate) begins the Thai-language film in earnest, then suddenly introduces comedic elements that are not present in the initial quarter. In high-stakes stories of life or death, you can’t go from slapstick to samurai swording a dog and expect to keep the audience to stay alongside you. It just doesn’t work, especially when the running time overstays its welcome by a good 30 minutes of nearly two hours — a bane of many Asian genre pics, Thailand included.

Throw in an ending that’s terrible and two people have lost this Game: Sakveerakul and the viewer. —Rod Lott

Buy it at Amazon.