Final Destination Bloodlines Delights with Death

Final Destination Bloodlines does something rarely seen in sequels. It makes for some remarkably entertaining moments. Although it is the sixth film in a franchise, the long pause between pictures was certainly not wasted. Final Destination Bloodlines could be called more of the same, but sticking to a working formula is hardly a sin.

The franchise continues its conception of Death as an ethereal slasher. Those who escape the reaper’s machinations soon find themselves hunted by an invisible omnipresent entity. Events then transpire unleashing a series of chain reactions which culminate in epic catastrophes.

Final Destination Bloodlines does endeavor to have something of a story. The focus is on Stefani Reyes (Kaitlyn Santa Juana). Horrifying nightmares involving her grandmother Iris (Brec Bassinger) are driving her mad. These nightly visions showcase a gruesome tragedy that never occurred; providing an amazing set piece which perfectly opens the film. Digging into the matter reveals that back in 1968 Iris experienced a psychic premonition which allowed her to prevent a tower collapse which would have killed multitudes. Since then, Death has been harvesting the survivors who should have died along with the families they never should have had. And now Stefani’s family is next on the list.

One of the film’s main flaws is rushing through these plot details. It isn’t a bad concept. In fact, it seems to link every film in the franchise. Final Destination Bloodlines, however, races through the bullet points of its thin plot sprinting towards the main attraction.

These films have always been about the ghoulish anticipation while witnessing each calamity unfold, especially as the filmmakers draw attention to shards of glass, rusty rakes, and leaking gas lines. It’s like being shown pieces of a grim puzzle then enjoying the dread tension realizing how each interconnect into a gruesome kill. Ordinary things like pennies and peanut butter cups take on ominous significance as the whole world becomes a Rube Goldberg death trap.

At the same time, Final Destination Bloodlines wisely leans into the realm of dark comedy. By never taking itself too seriously the film doesn’t risk becoming ridiculous. This movie knows it’s a funhouse spook show, so acts accordingly. Exquisite gore prevents the absurdly intricate kills from being too jokey, yet they can stray closer to morbid jests than scary slasher slaughter. This blend of humor and horror is a staple of the franchise. Fortunately, the filmmakers thread the needle, stitching together scenes that may initially trigger a snicker, but which quickly turn into gasp inducing gruesome spectacles.

Having a solid cast helps ensure that as well. Richard Harmon (Continuum) is especially entertaining as mordant cousin Erik. His interactions with brother Bobby (Owen Patrick Joyner) are a highlight of the film. They have better chemistry than the family we’re supposed to focus on. While Kaitlyn Santa Juana (We Need a Little Christmas) and her brother Charlie, played by Teo Briones (Wind River), are solid performers, neither are given enough material for their relationship to have much substance. Their interactions feel more like addressing plot points than establishing characters.

This weakness permeates Final Destination Bloodlines as the narrative aspires to be about family connections, estrangement, and reconciliation. There’s also the contemporary trope of aged survivors that’s become a modern horror trope. The problem, though, is that the filmmakers have zero interest in exploring those themes, so race by character exploration to get to the gore.

The result is a plethora of performers filling out a big family whose primary purpose is to be slaughter fodder. That isn’t to say the deaths aren’t entertaining, simply to forewarn anyone not to expect a deeper narrative. Final Destination Bloodlines is a funhouse killing spree not an insightful spook show, nor does it ever pretend to be otherwise. In that respect, it’s a welcome break from the pretentions of what’s been snobbishly labeled “elevated horror”.

Tony Todd returns as the franchise’s lore master. The acclaimed actor is a legend in genre films, particularly the horror community. His work on stage has garnered equal accolades performing in plays such as August Wilson’s Pulitzer Prize-winning Fences and Athol Fugard’s The Captain’s Tiger. Final Destination Bloodlines captures his final film performance, and he masterfully exits the franchise on a high note.

Cinematically, the movie knows how to establish the build for each set piece calamity. Directors Zach Lipovsky and Adam Stein follow the well-established blueprint laid out by the five preceding pictures. This means certain camera shots blatantly draw attention to scene elements — the cogs which will allow Death to crank out kills. The main result is a familiarity one expects from a franchise sequel without ever straying far from the visual core of what’s come before. It all builds a strange anticipation through obviousness as the audience realizes a second before the victims what horrors are about to happen.

Narratively, Final Destination Bloodlines isn’t much of a deep dive into the themes of family it presents. Performers do there best as the script speeds through plot points to gran guignol set pieces. Here the film really shines, orchestrating elaborate gory kills that border on the absurd. Leaning into that dark comedy gives this fright flick a morbid charm which makes it a fun ride.

Final Destination Bloodlines doesn’t try to reinvent the wheel, even within its own franchise. By sticking to an established formula, it offers a familiar scare. Fans of the preceding films will definitely want to check out this excellent installment. Horror fans in search of something fresh wouldn’t go wrong either. Final Destination Bloodlines is exactly what one expects looking for a popcorn picture to ideally kill a Friday night. This is a beer and a pizza movie if ever there was one.