The Murder Game: An Independent Horror Film

Review from Horror Talk

Movie:

Somewhere in the vast open spaces of American suburbia, a bunch of bored teenagers found a new way to kill time — "the murder game". Essentially, it's a slightly more twisted variety of "hide & seek"; everyone draws a card, queen of Spades is "the killer", and his task is to off everyone. Not so surprisingly, this form of entertainment runs into some objection from the parental crowd, so soon enough the kids are stuck without their favourite pastime.

That is, until Eric, who seems to have a particular liking for the game, decides to stage an all-night bonanza of make-believe murder at a large self-storage warehouse. The gang is initially reluctant, but they all agree in the end. Initially, it seems to be a proper blast and a night's worth of sheer fun. Until, in the best slasher tradition, people start really dropping dead, and we have a problem...

Review:

The Indie industry keeps getting better. I will spare you from yet another introductory rant in which I bemoan the fact that every bozo with enough cash to buy a DV cam is suddenly a horror director — instead, I will simply tell you that The Murder Game is the most accomplished independent effort to yet land in my mailbox. Obviously not satisfied by just putting out his name in the rental shelves, director Robert Harari patched together an impressive effort here — The Murder Game looks, acts, feels and smells like a genuine motion picture, and not some backyard "dude, let's make a scary movie !!!111" mishmash.

While I'm not much for the slashers, this film kept me reasonably entertained throughout, and sitting through the 90 minutes of its running time wasn't much of a chore (high praise this, coming from me). Harari, this being his first feature length, and Jason Contino, serving here as the co-producer and the director of photography, set the tone by making their effort looking rather polished. Indiehounds looking for shoddy direction, chop-hack editing and amateurish props need not look here, for The Murder Game is almost spotless in those departments. Special props are reserved for Contino, who very seldomly lets us know that this, actually, is a shot-on-DV venture, thanks to some clever and efficient lighting and many, for this level of play, inventive setups. Editing, courtesy of Harari and David A. Cross, is also major league work. The FX folks fill in the gaps by providing us with some rather realistic murder set-pieces — couple of stabs, slashes and even a beheading are all to be observed within the running time.

The actors have been kind enough to follow suit. Steve Polites, Katie Sirk and Samuel Klein lead the nine-piece ensemble cast, which acquits itself solidly. Most of the choice cuts belong to the lead trio (Klein looks like a dead ringer for Ian Astbury, better known as the lead vocalist for "The Cult"), but there is some spark in the support as well — I enjoyed Julia Pickens as Lucy, the Ripley-esque female part, and Vince Eustace and Erik Soulliard are fun as a couple of stoners. While Ariana Almajan and Christina Marchand look good, they are the token "omigosh we're gonna get KILLLLLLLLED!!!!" horror film characters, and as such there is not really enough of meat to their parts. Similarily, Max Hambleton is a glorified bit part himself. Still, even them are less irritating (if at all) when compared to the usual bill of fares.

Plot, while basic, works good. In its essence, this is a simple film and the director, seemingly of his own volition, kept it simple, opting to go the classic slasher route with a twist towards the ending, which was also interestingly handled. The lack of pompousness definitely aids the overall cause, which is a refreshing change from the usual "look at us, we're horror stars" shtick. There are also two nods to contemporary horror I enjoyed. First, there is a scene in which Klein's character refutes the theories that the killer is out for them for some reason, simply stating that he's probably just crazy without strings attached. With this, I felt Harari took a shot at the recent trend of horror pictures in which every psycho has to have a motive behind him (see The Texas Chainsaw Massacre: The Beginning or Rob Zombie's Halloween), and pleaded for a return of plain "psycho" psychotics. Another nod is towards the very end, but I won't reveal it in its entireness as it would spoil the finale — I'll just say it has something to do with a Stephen King novel which was successfully filmed in the '70s.

There is not many things which hamper this film, but they should be noted as well. First of all, Harari and Contino essentially pulled a Bull Durham on us by casting a bunch of twenty-somethings as high school kids. This, obviously, can be forgiven as it is conceivably due to the fact this was a labour of love project, so with real budget and funds they would probably manage this the right way. Other weak spot is the occasional shot of the warehouse from the outside with ominous thunderstorm raging around — quite frankly, it looks like they just propped up a LEGO construction and toyed with some CGI for the storm. The insertion of it just looks amateurish, and should have been left on the cutting floor, or better yet, in Harari's head, filed under "maybe this ain't such a great idea".

So what's next for Harari, Contino and the rest of 500 Pieces production co.? No clue, but judging from this, it could be promising. Bring it on, minus the intermezzo outside thunderstorm shots though.

More Background On MurderGameMovie.com

MurderGameMovie.com is a legacy website dedicated to the independent horror feature The Murder Game, which premiered in 2006. Originally created as the official promotional platform for the film during its production and release cycle, the site has since evolved into an archival homage. Today it serves as a curated preservation project, reconstructing original content from historical web captures and supplementing that material with independently sourced information about the film’s production, distribution, reception, and cultural context.

The site stands as both a marketing artifact from the mid-2000s independent film era and a tribute to grassroots horror filmmaking. For readers seeking to understand the film, its creators, and its place within the indie horror landscape, MurderGameMovie.com provides valuable documentation of the project’s journey from script to screen.

Overview of the Film: The Murder Game (2006)

Released on May 3, 2006, The Murder Game is an 87-minute independent horror film written, directed, and produced by Robert Harari, with Jason Contino serving as co-writer, producer, and director of photography. The film is structured as a modern slasher story centered on a group of teenagers who create a live-action role-playing elimination game. One player secretly assumes the role of the “killer,” and armed with prop weapons, must eliminate the others before being discovered.

Seeking a more immersive and thrilling environment, the group chooses to hold their game inside a self-storage warehouse during late-night hours. What begins as reckless fun spirals into real terror when participants begin dying for real. The narrative blends familiar slasher elements—isolated location, youthful rebellion, escalating paranoia—with subtle commentary on thrill-seeking behavior and the dangers of pushing boundaries too far.

The film was not rated and ran just under 90 minutes, fitting the standard feature-length format suitable for festival exhibition and home video distribution.

Production Background and Development

The film’s development began in 2004, with casting and pre-production activities centered in Baltimore, Maryland. According to archived production updates, the script was finalized in late summer 2004, followed by open casting calls and rehearsals throughout the fall. Principal photography began in January 2005 and continued over several weeks, with dedicated special effects days scheduled to capture the film’s more elaborate sequences.

The production timeline documented on the website reflects a carefully organized independent shoot. Regular updates detailed:

• Casting calls for non-union actors who could convincingly portray high school students
• Rehearsal photos and behind-the-scenes stills
• Announcements of principal photography
• Special effects production days
• Trailer release announcements
• Launch of an online fan forum

This level of transparency was typical of early internet-era independent film marketing. Rather than relying on studio publicity machines, indie filmmakers cultivated direct engagement with audiences through their official websites.

Filmmakers and Creative Team

Robert Harari, born in 1976 in Baltimore, pursued filmmaking after studying at Towson University. There he developed his skills in directing, editing, and collaborative storytelling. Prior to The Murder Game, Harari worked with Jason Contino on award-winning short films titled The Puzzle and Midnight Sun. These projects established their partnership and demonstrated their ability to produce polished work on limited budgets.

Jason Contino, who studied film and shared a long-standing enthusiasm for horror cinema, played a central role in shaping the film’s visual style. As director of photography, he worked to elevate the digital video format through careful lighting techniques and inventive framing. Reviews of the film later praised the cinematography for masking its low-budget origins.

David A. Cross contributed as assistant director and collaborated on editing duties, bringing additional production experience to the team.

The film was produced under the banner of 500 Pieces Productions, an independent production entity formed by the creative team. Like many early-2000s indie film collectives, the company operated on tight budgets and relied heavily on collaboration, community support, and creative financing.

Financing and Product Placement

Independent films of this scale often require innovative funding strategies. According to information associated with the project, product placement fees contributed to the film’s financial support. Brand integration within independent horror films was not uncommon during the early 2000s, particularly as filmmakers sought alternative revenue streams to offset production costs.

This approach illustrates the pragmatic realities of microbudget filmmaking. Rather than relying solely on private investment or grants, producers combined small funding sources to bring the project to completion.

Premiere and Regional Significance

The Murder Game premiered on May 3, 2006, at the historic Senator Theatre in Baltimore. The Senator Theatre, a landmark cinema dating back to 1939, has long served as a cultural centerpiece for film exhibition in the region. Hosting the premiere there reinforced the production’s local roots and underscored Baltimore’s role in nurturing independent filmmakers.

The project maintained strong ties to the Baltimore and Towson creative communities. Many cast and crew members were affiliated with Towson University’s theatre and film programs, reflecting the school’s role as an incubator for emerging regional talent.

Baltimore has a longstanding tradition of independent filmmaking, often associated with unconventional voices and grassroots storytelling. The Murder Game fits within this regional ecosystem, representing a generation of filmmakers influenced by both classic slasher cinema and the accessibility of digital video technology.

Cast and Performances

The ensemble cast consisted largely of emerging actors from Maryland and surrounding areas. The principal cast included Steve Polites, Katie Sirk, Samuel Klein, Julia Pickens, Christina Marchand, Ariana Almajan, Vince Eustace, Erik Soulliard, and Max Hambleton.

Many performers had theatre backgrounds, and several were students or recent graduates of Towson University. Christina Marchand brought modeling and commercial experience, while others had appeared in independent shorts and regional productions.

One review noted that although some actors were clearly in their twenties portraying high school students—a common horror trope—the performances were generally solid and consistent. Particular praise was given to the lead trio for maintaining tension and credibility throughout the film.

The film’s character archetypes align with traditional slasher conventions: the reluctant participant, the thrill-seeker, the skeptic, the strong female lead, and the comic relief. However, the performances reportedly avoided exaggerated melodrama, contributing to a more grounded tone.

Critical Reception

A detailed review from Horror Talk described the film as one of the more accomplished independent horror submissions the reviewer had encountered. The review highlighted:

• Polished editing
• Effective pacing
• Professional lighting and cinematography
• Realistic practical effects
• A satisfying twist ending

The critic emphasized that the film “looked and felt” like a legitimate motion picture rather than an amateur backyard production.

Criticism was directed at occasional visual effects shots, particularly exterior warehouse scenes featuring artificial storm elements. Nonetheless, these weaknesses were considered minor relative to the film’s overall technical competence.

The review also appreciated the film’s decision not to over-explain the killer’s motivations, framing this as a return to classic horror traditions rather than the psychological backstory trend popular in mid-2000s remakes.

Distribution and Industry Position

The film secured distribution through Lightyear Entertainment, with involvement from Warner Bros. in home video handling. While the film did not achieve wide theatrical release, distribution partnerships allowed it to reach DVD audiences and rental shelves.

For an independent production, securing recognizable distribution partners signaled professional legitimacy.

The film’s presence on IMDb and horror review sites helped maintain visibility within genre communities.

Website Structure and Features

The original MurderGameMovie.com functioned as a classic early-2000s film promotional site. Its features included:

• Production updates and blog-style entries
• Photo galleries from rehearsals and principal photography
• Cast and crew biographies
• Downloadable trailer formats for various internet speeds
• A fan forum for discussion
• Press excerpts and reviews

The resurrected version of the site aims to preserve that original structure. Rather than modernizing the design for aggressive monetization, the current steward opted for authenticity, reconstructing content from archival captures and supplementing missing details with reliable external sources.

Digital Preservation and Domain Recovery

At some point after the film’s initial promotional run, the domain lapsed and became available for purchase. Recognizing its historical connection to the film, an individual with insider knowledge acquired the domain to prevent unrelated repurposing.

Domain recovery efforts like this play an important role in preserving digital history. Many early film websites disappear when hosting expires, resulting in lost documentation of independent creative work. By restoring MurderGameMovie.com, its current owner effectively created a digital museum piece.

This act reflects broader trends in online preservation, where fans and former collaborators safeguard niche cultural artifacts from disappearing into obscurity.

Audience and Appeal

Today, MurderGameMovie.com primarily appeals to:

• Independent horror enthusiasts
• Collectors of mid-2000s DVD-era horror films
• Film students studying grassroots production models
• Baltimore film community members
• Media preservation advocates

While traffic levels are likely modest, the audience is specialized and engaged. For researchers or fans seeking consolidated historical information about The Murder Game, the site provides a centralized reference point.

Cultural Context Within Indie Horror

The early 2000s marked a transitional period in horror filmmaking. Affordable digital video technology enabled aspiring filmmakers to produce feature-length projects outside traditional studio systems. Simultaneously, the DVD market expanded distribution opportunities for independent genre films.

The Murder Game emerged during this wave of democratized filmmaking. Its relatively polished execution demonstrates how disciplined direction, strong cinematography, and focused storytelling could elevate a microbudget project above its peers.

The film’s stripped-down slasher premise aligns with traditional genre roots while subtly acknowledging contemporary horror debates about motivation and narrative complexity.

Awards and Festival Presence

Public records confirm that Harari and Contino’s earlier short films won awards, helping establish their credibility before launching into feature production. While documentation of major festival awards for The Murder Game itself is limited, its premiere at a historic theater and subsequent distribution reflect industry validation.

Independent films often measure success not by box office returns but by completion, distribution, and audience engagement. In that sense, The Murder Game achieved meaningful milestones.

Long-Term Legacy

Nearly two decades after its release, The Murder Game remains a snapshot of independent horror’s DVD-era momentum. Its preservation through MurderGameMovie.com ensures that future viewers can trace its development history and creative journey.

The film’s tagline—“Wanna Play?”—captures both its narrative hook and its broader spirit. It represents young filmmakers daring to “play” within a competitive industry, leveraging passion and collaboration to bring a feature-length horror story to life.

The website now serves as a bridge between past and present, connecting archival material with contemporary interest.

MurderGameMovie.com is more than a promotional relic. It is a preserved chronicle of independent ambition, regional collaboration, and early digital-era filmmaking. By reconstructing production updates, cast biographies, and critical responses, the site provides a comprehensive portrait of The Murder Game and its creators.

From Baltimore casting calls in 2004 to a 2006 premiere at a historic theater, from grassroots financing to DVD distribution, the film embodies the determination characteristic of independent horror filmmakers. Its ongoing digital preservation reflects respect for creative labor and recognition of cultural history.

For readers interested in independent cinema, horror genre evolution, or digital archiving, MurderGameMovie.com offers a detailed case study in how small films leave lasting footprints.