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BioShock Infinite Just Got Delayed To Next Year, Won’t Be Appearing At E3
It looks like Spring just got a lot more exciting. We have a new Dead Space coming by March and now BioShock Infinite, one of my most anticipated games ever, has been pushed into February. The decision was made so the development team could make some tweaks that will certainly make the game even better, so I’m all for that. Now dry your tears baby bird, because it’s not that bad. Infinite’s new release date is February 26. I also wouldn’t expect to hear anything about it at E3 next month, because it’s been confirmed it won’t be there. Check out a note from Ken Levine after the jump.
A MESSAGE FROM KEN LEVINE
When we announced the release date of BioShock Infinite in March, we felt pretty good about the timing.
Since then, we’ve come to realize that some specific tweaks and improvements will make Infinite into something even more extraordinary. Therefore, to give our talented team the time they need, we’ve decided to move the game’s release to February 26, 2013. We wanted to let our loyal (and very patient!) fans know this as soon as possible.
I won’t kid you: BioShock Infinite is a very big game, and we’re doing things that no one has ever done in a first-person shooter. We had a similar experience with the original BioShock, which was delayed several months as our original ship date drew near. Why? Because the Big Daddies weren’t the Big Daddies you’ve since come to know and love. Because Andrew Ryan’s golf club didn’t have exactly the right swing. Because Rapture needed one more coat of grimy Art Deco.
The same principle now applies to BioShock Infinite.
What does this mean for you? It means a bit more waiting, but more importantly, it means an even better BioShock Infinite. The great can be made greater, and we owe it to both ourselves and to you, our fans, to take this opportunity. Irrational Games is one of those rare developers lucky enough to ask the people who sign the checks: “Hey, can we have a few more of those checks?”
We are also going to hold off on showing BioShock Infinite at the big events of the summer, like E3 and Gamescom. That way, the next time you see our game, it will be essentially the product we intend to put in the box. Preparing for these events takes time away from development, time we’re going to use instead to get the best version of Infinite into your hands in February.
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Let’s start with the good news. Lockbox looks far better than its misleading marketing materials suggest, a supernatural horror movie so darkly lit and color graded that you’ll have to squint your way through jump scares. It’s also anchored by reliable genre performers. That’s also about where the good news ends with this rote adaptation of Knifepoint Horror Podcast story “Winthrop.”
The empathetic Carla Gugino gives her all as Ellen, a saint of a woman with boundless patience who takes on life’s hard luck with a kind smile. After giving up her career as a fashion designer to become caretaker for a dying mother, she’s then forced to reinvent herself once more when her caretaker role ends. That catches us up to the events of Lockbox, where Ellen is asked to take in a cousin she hasn’t seen in quite some time who’s dealing with severe PTSD.
Just as Ellen finally establishes a real connection with Winthrop (Lou Taylor Pucci), it’s interrupted by the arrival of peculiar neighbor Vahna (Katharine Isabelle), who spells clear trouble. When Vahna shows up dead, it sets in motion a supernatural battle of possession.
Image Credit: Aura entertainment
Director Daniel Stamm (The Last Exorcism, Prey for the Devil) and screenwriter Justin Yoffe approach Lockbox in the broadest of brushstrokes, dooming it from the start with clunky storytelling and woefully underdeveloped themes of heady topics like PTSD. Winthrop is a character that comes loaded with emotional baggage and trauma that’s piled on throughout his tragic life, but much like its title, his interiority and history are treated like a tightly guarded secret meant to prolong the supernatural mystery.
The problem here, though, is that Lockbox is too sparse to sustain mystery at all, and it instead robs Winthrop of characterization. It winds up trapping the talented Pucci without anywhere to go, toggling between wounded animal and mentally disoriented.
From there, Lockbox bounds through plot developments without any sense of stakes or purpose, peppered by a smattering of haphazard paint-by-numbers jump scares. The only unwavering constant is Ellen’s resolute faith, and Stamm seems to leave it entirely to Gugino to guide confused audiences through this inconsequential story right up until its supernatural climax.
Image Credit: Aura entertainment
To give more credit, Lockbox at least injects an unconventional exorcism here; just don’t expect much in the way of explanation. When the film finally reveals the meaning behind its title, it dangles a fascinating carrot it has zero interest in delivering. More than a severe lack of fleshing out its characters beyond plot drivers or devices, this faith-based flick also seems terrified to offer any worldbuilding whatsoever.
Yoffe’s script stretches the short story beyond its means instead of fleshing it out, and Stamm fills out the gaps with cheap CGI scares and overwrought performances; Isabelle’s Vahna is beyond cartoonish in her villainy. It’s also pretty nonsensical, treating only Ellen’s faith with the utmost sincerity and largely squandering its typically reliable talent. So much so that the final imagery, pure sunkissed saccharine sentimentality, leaves you with the feeling that this horror movie might be better suited as an entry in Chicken Soup for the Soul.
Lockbox releases in select theaters on July 3, 2026.
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