News
Kojima Talks ‘Death Stranding’ at Tribeca
As was announced last month, Hideo Kojima paid a visit to the Tribeca Film Festival yesterday. And as expected, he remained relatively tight-lipped about Death Stranding.
Nevertheless, he (and Norman Reedus) did divulge some interesting tidbits, which were recorded by a user from ResetEra:
- Kojima reiterated that Death Stranding is an open-world action game, while emphasizing that it will bring something new to the genre.
- Using the internet as a metaphor, he said that connection will be a big theme in Death Stranding. The player will be alone—there is solitude—but they will be trying to connect.
- In both the gameplay and story, “connection” will be key. Everyone will be connected. Kojima was visibly enthusiastic about this.
- He couldn’t say much more about the topic, as he didn’t want to conflict with publisher Sony Interactive Entertainment: “I don’t want to be disconnected from Sony.”
- “To connect is the same as disconnecting in a way; is connecting correct? Is it better to disconnect?” He wants players to think about this theme in their own lives and in the world (he mentioned dating and European politics as examples).
- Kojima said it is difficult to tell a story in an open-world game because you have to balance player freedom—freedom of movement—with the plot. You have to go in a certain direction to learn more about the story, but Kojima also wants players to feel like they are making the choice to do so.
- Kojima talked about working with Hollywood actors. While he can create 100 percent of what he wants with mere CG, that limits him to what is in his head. Real actors, on the other hand, can surprise him with added depth. He said he cannot go back to the days before motion capture.
- Norman Reedus, who plays protagonist Sam, said that players will cry when playing the game. You will get emotionally invested.
- Kojima said he wants to create games until he dies.
- We might see more of Death Stranding in a month or so. (Maybe.)
Death Stranding will be a PlayStation 4 exclusive.
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.
You must be logged in to post a comment.