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“Splatterhouse” Slashes onto Nintendo Switch Today!
I don’t recall how these two go hand in hand, but when I was little both the NEOGEO and Turbo-Graphx 16 were a pretty big deal. While everyone I knew had a Nintendo or a Genesis, only those lucky individuals had the aforementioned machines. I’m sure what the price point was on them, but I always thought the graphics looked amazing, with the colors really popping out of the screen. I was pretty jealous of everyone who had either, especially the handheld versions.
But my jealousy never stemmed from the system itself, but from the games that I couldn’t own. The big one was Splatterhouse, an Evil Dead II and Friday the 13th-inspired slasher game of sorts* that followed a kid, who would turn into a Jason Voorhees-like character after putting on “the Terror Mask”. It was an interesting reversal of the slasher, turning the victim into the stalker with all of the power. I guess you could say I wanted to live vicariously through it. Anyway, this 1988 masterpiece was initially an arcade game that would be released on the Turbo-Graphx in 1990. Now, nearing its 30th anniversary, it’s officially joined Nintendo Switch’s library of NEOGEO Masterpieces. It’s $29.99. Splatterhouse will be included in the upcoming Namco Museum compilation, which will include Dig Dug, Galaga, Galaga ’88, Pac-Man, Rolling Thunder, Rolling Thunder 2, SkyKid, Tank Force and The Tower of Druaga.
[Related] Namco’s Horror Classic “Splatterhouse” Turns 28!
*Interesting Wiki fact: “The Terror Mask was changed from a white hockey mask to a red mask with black accents. This is to keep Rick from looking too much like Jason Voorhees. The mask became more skull-like in later games.”
Here are the full story details via Wiki:
“Two college students, Rick Taylor and Jennifer Willis, take refuge from a storm in West Mansion, a local landmark known as “Splatterhouse” for the rumors of hideous experiments purportedly conducted there by Dr. West, a renowned and missing parapsychologist. As they enter the mansion and the door shuts behind them, Jennifer screams.
Rick awakens in a dungeon under the mansion having been resurrected thanks to the influence of the “Terror Mask”, or in some versions, the “Hell Mask”, a Mayan sacrificial artifact from West’s house which is capable of sentient thought. The mask attaches itself to Rick, fusing with his body and transforming him into a monster with superhuman strength. With the mask’s encouragement, Rick goes on a rampage through the dungeon and the mansion grounds, killing hordes of monsters. Inside the mansion, Rick finds Jennifer, prone on a couch and surrounded by a throng of creatures that retreat upon his arrival. After their departure, Jennifer transforms into a giant, fanged monster that attempts to kill Rick while begging him for help. Rick is forced to kill Jennifer, who transforms back to normal and thanks him before she dies. Infuriated, Rick tracks the remaining monsters to a giant, bloody hole in the mansion’s floor. Upon entering it, Rick discovers that the mansion itself is alive. He follows a bloody hallway to the house’s “womb”, which produces fetus-like monsters that attack him. Rick destroys the womb, which causes the house to burst into flames as it “dies”.
Escaping the burning mansion, Rick comes across a grave marker. The Terror Mask releases energy into the grave, reviving a giant monster named “Hell Chaos” that claws its way up from the earth and attempts to kill Rick. Rick destroys the creature, which unleashes a tormented ghost that dissipates into a series of bright lights. As the lights vanish, the mask shatters, turning Rick back to normal, and he flees as the house burns to the ground and the credits roll. However, after he leaves and the credits end, the Terror Mask reassembles itself and laughs evilly, staying there for 45 seconds, with the word “END” appearing on the bottom right corner of the screen.”
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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