Final Destination: Bloodlines Confidently Revives the Best Horror-Film Franchise

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It’s been 14 years since the last “Final Destination” film, but “Final Destination: Bloodlines” seamlessly fits the series’ sleek early-2000s style and delightfully absurd tone. This continuity was likely anticipated due to the relatively straightforward nature of adding a new installment in this franchise, which doesn’t demand complex plot twists or refreshing an outdated concept. Death is the quintessential horror antagonist; it cannot be vanquished, explained, or (as these films repeatedly demonstrate) overcome. Unlike other horror reboots, “Bloodlines” (the sixth installment in the series) doesn’t have to invent convoluted explanations for why a resurrected killer or condemned spirit has returned. That’s what makes this series unique. Death is always lurking, ready for us even now. And it usually emerges victorious in these films.

In terms of creativity and over-the-top death scenes, this new film impressively broadens the spectrum without deviating from the established pattern. The unique aspect of a new “Final Destination” installment is that the opening fatality is always the most spectacular. Previously, we’ve witnessed catastrophic events such as a racetrack fire, a roller-coaster accident, a plane crash, a collapsed bridge, and, needless to say, the most legendary highway pile-up in film history. This time, however, we encounter the unsettling demolition of an upscale restaurant named Skyview, perched atop a tower reminiscent of the Space Needle. The story is set in the late 1960s, and a young woman named Iris (Brec Bassinger) is on the verge of receiving a proposal from her boyfriend. Yet, she’s surrounded by mysterious warnings. Are these genuine portents or just her anxiety from the ’60s square mentality? The elevator appears unsteady, the chefs carelessly flame dishes, Iris pricks her finger on a rose thorn, a crystal chandelier piece falls off, a boisterous band encourages a crowded dance floor to synchronize their dancing to their cover of “Shout” by the Isley Brothers, and a mischievous child tosses coins from the 499-foot tower. Each of these elements will contribute in intricate ways to the gruesome spectacle of death that is soon to unfold.

Following the style of the movie “Final Destination”, the opening scene is usually a figment of the protagonist’s imagination rather than an actual event. In this case, the college student, Stefani Reyes (Kaitlyn Santa Juana), has been tormented by such a nightmare. As she delves into the reasons behind these terrifying visions, Stefani uncovers a startling truth: Iris was her long-lost grandmother who had foreseen this calamity in the past. However, Death eventually claimed those whom Iris had saved, all in the sequence of their original deaths, along with many of their families, some of whom were never supposed to exist. Now, Stefani understands that her loved ones, such as her brother Charlie (Teo Briones) and cousins Erik (Richard Harmon), Julia (Anna Lore), and Bobby (Owen Patrick Joyner), are at risk of meeting their untimely ends next.

The film creators, Zach Lipovsky and Adam Stein, along with scriptwriters Guy Busick and Lori Evans Taylor, inventively use everyday settings, gadgets, and concepts for the movie’s typical Rube Goldberg-style carnage: a tattoo studio, an MRI scanner, peanut allergies, and a family barbecue that takes a terrible turn. Unlike many horror films that confine characters to one location or thrust them into extraordinary situations (such as satanic possessions or annoying the wrong truck driver), ‘Final Destination’ portrays Death as working within the familiar backdrop of daily life. In these movies, simply living your day-to-day existence — driving on the highway, using a vending machine, making drinks, or doing gymnastics — makes you the perfect target.

Experiencing a sense of nostalgic excitement as Bloodlines resurrects the rhythmic pace of a Final Destination‘s lethal sequence. Ordinary items transform into ominous threats as the movie orchestrates them to perform in Death’s choreographed dance: a shard of glass hidden within a mound of crushed ice, a beer bottle poised precariously on an edge, a trampoline’s fabric ripping slowly while a rake waits expectantly below; a water spigot accidentally turned on, causing a garden hose to swell with water. It remains unclear how these elements will combine to harm one of the characters. The tension and surprise lie in the answer to that question. The chaos exhibits a range of tones: One intricate scene surprisingly results in the intended victim casually departing, while the grand finale falls short, unfortunately, as it’s difficult to create an impactful conclusion after investing so much energy into the earlier deaths.

In line with my anticipations, there are subtle references to the franchise’s history scattered throughout. Certain moments echo iconic scenes, such as a chilling finale reminiscent of Final Destination 2. What truly stands out, however, is the return of Tony Todd, portraying his character William Bloodworth – the morbid mortician, who usually speaks in cryptic and foreboding tones about Death’s plans. In this installment, he delves into personal reflections on cherishing life and time, which seems to be a heartfelt improvisation from the actor himself. This emotional break through the fourth wall is sure to resonate with longtime fans of these films. For newcomers, they might find themselves puzzled by this sudden display of sincerity.

In addition to Stefani, the characters in Bloodlines don’t contribute much other than meeting untimely and implausible deaths. This isn’t too surprising. However, at their finest moments, the Final Destination movies assemble diverse characters from various backgrounds to bicker, clash, plot, cooperate, and ultimately perish. This is due to the series’ universal perspective, which resonates with both the pessimist and the carefree, making the films deeply satisfying.

In simpler terms, the film “Bloodlines” brings back an enjoyable horror series that typically outsmarted other scary movies. However, it’s disappointing that this latest installment didn’t delve deeper into character development and dialogue exchanges, as these elements make the characters more relatable.

The current trend of remaking every horror franchise has resulted in shallow human stories being churned out for the horror genre. This could be due to reinterpreting most horror as “slasher” variations. However, films of this nature work best when they allow viewers to care about their characters. This doesn’t mean adding excessive sentimentality. Even hardcore horror fans appreciate the deaths of well-developed characters. The more we connect with on-screen characters, the more emotionally invested we become in their fates, as they serve as proxies for ourselves.

“Bloodlines” offers what one expects from a new “Final Destination” movie, but it could have offered so much more.

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2025-05-16 23:54