Final Destination: Bloodlines

Rating 7/10

The Final Destination franchise built a niche empire from 2000 to 2011 with five films. While often dismissed by critics, they earned steady box-office success and a devoted cult following. These horror pictures became known for their Rube Goldberg-style deaths— elaborate chain reactions that turned everyday objects into instruments of doom. Now, after a 14-year hiatus, the series returns with an episode that delivers the same over-the-top carnage they always have. However, now the cultural mindset has changed. The artistry is, at long last, getting its due. Today, critics extoll the virtues of the current entry the way they might talk about a Jackie Chan action scene or a Busby Berkeley musical number. It just goes to show: stick to what you do best, and eventually, the world catches up.

Final Destination: Bloodlines introduces a twist to the formula. Rather than opening with a future premonition of disaster, it begins with a recurring nightmare of a past tragedy that never happened. College student Stefani Reyes (Kaitlyn Santa Juana) is plagued by the collapse of the Skyview Restaurant Tower in 1968. As Stefani reconnects with her estranged family, including Uncle Marty (Tinpo Lee), brother Charlie (Teo Briones), and extended relatives, she uncovers a dark past. Her grandmother, Iris Campbell (Brec Bassinger in flashbacks, Gabrielle Rose in the present), prevented a deadly catastrophe, unknowingly triggering a ripple effect. Now, Death appears to be targeting Iris’ descendants, one by one. With help from legacy figure William Bludworth (Tony Todd, in his last performance), the group confronts a horrifying truth: fate denied is fate delayed — and it’s come to collect.

Producer Jon Watts (best known for directing the Spider-Man MCU trilogy) helped develop the story and envisioned a return to its suspenseful roots. Directors Zach Lipovsky and Adam Stein bring that vision to life, balancing crazy exhibitions with a deeper undercurrent. This time, the screenplay by Guy Busick and Lori Evans Taylor focuses on regret and fractured ties. Iris’s decision to isolate herself in a fortified cabin was an act of guilt and desperation, an attempt to shield her brood from the outcomes of her choice. Her daughter Darlene (Rya Kihlstedt), emotionally scarred by her upbringing, becomes a distant, absent mother — further complicating Stefani’s life. These threads offer more character development than the brand is typically known for.

But let’s be honest — the real draw of these movies isn’t its family drama. It’s the outrageous, intricately designed death scenes that unfold through a series of haphazard coincidences, near-misses, and shocking payoffs. This series has always found morbid joy in the unexpected: Terry stepping into the path of a bus (Final Destination), the infamous log truck scene (Final Destination 2), the tanning bed malfunction (Final Destination 3), and the gymnast’s doomed routine (Final Destination 5). These moments are iconic for fans.

Bloodlines holds its own with memorable casualties. The opening sequence at the Skyview Tower in 1968 sets the tone with a cascade of deaths that rivals any in the franchise (no spoilers, but it’s a stunner). Subsequent fatalities that dazzle include Julia’s (Anna Lore) ill-fated run-in with a garbage truck and Howard’s (Alex Zahara) demise during a barbecue. Erik’s death by MRI machine is easily the most grotesque. It’s a painful reminder that metal piercings and magnets don’t mix.

The latest account subtly evolves the concept within this film’s universe. It explores how past choices — even heroic ones — can have terrifying consequences across generations. Iris’s guilt and sacrifice add a layer of pathos. And while these movies aren’t made for deep introspection, this installment shows that a little emotional resonance can elevate the narrative. This is still popcorn horror — a rollercoaster of black comedy and spectacle. But Bloodlines reminds us why the franchise endures: not just for the kills, but for the ride. These pictures may not win awards, but when done right—as this one is—they can be a blast.

05-15-25