‘Final Destinations: Bloodlines' Review: Born to Die

New York Times

15-05-2025

It's no surprise that the 'Final Destination' franchise — a schlocky, spectacularly gory series of horror films that kicked off in 2000, spawning a total of five movies — has staying power. Unlike most horror properties, there's no big baddie (à la Jason Voorhees or Leatherface) — or at least not one capable of getting old and seeming played out. The villain is Death itself, and both onscreen and off, it's coming for us all, though in the 'Final Destination' movies this unseen force is a shameless showboat.
That's no exception in the new, sixth installment, 'Final Destination: Bloodlines,' which begins with a terrifically tense set piece in and around a Space Needle-style glass tower in the 1950s. Iris (Brec Bassinger) is on a date with her beau on the building's opening night when she experiences a vivid hallucination of their imminently brutal deaths by towering inferno. The vision allows Iris to escape her grisly fate and save everyone around her. In this regard, 'Bloodlines' follows the template of all the 'Final Destination' movies (the first movie saw its characters escaping an airplane explosion, the second film a highway pileup and the third a roller coaster malfunction).
But as things go in the 'Final Destination' universe, Death doesn't like being cheated — and it'll take its lives, one by one, in what has become the franchise's claim to fame: ingeniously choreographed kill scenes that turn everyday settings and objects into potential murder weapons. Consider some of the series's greatest hits: death by tanning bed; by head-mashing weight machine; by, uh, slipping on spaghetti and getting your eyeball pierced by a falling fire-escape ladder.
'Bloodlines,' gleefully directed by Adam Stein and Zach Lipovsky, offers a compelling tweak on its predecessors by introducing — with a wink and a shove — the element of inherited trauma. The opening glass-tower tragedy, it turns out, happened decades ago and the premonition takes the form of Iris's granddaughter's nightmares. Stefani (Kaitlyn Santa Juana) is flunking out of college because of these recurring visions, leading her to return home and reconnect with her long-estranged grandmother (Gabrielle Rose).
Of the dozens of people who were supposed to die that night, Iris was nearly the last. Death proceeds in the intended order of the original blood bath, meaning it has taken years to work through all its victims — including the children those people were never supposed to have. Iris is now something of a doomsday prepper, having single-handedly fended off Death's wrath by sheltering in a remote cabin. Her family thinks she's nuts, but it's not long before Death works its way down the family tree, making conspiracists out of all of them.
'Bloodlines' might be the most self-consciously silly installment in the series, poking fun at its own improbable scenarios with meta-humor and Looney Toons-style gags (the boatloads of mushy, digitally-rendered blood add to this caricature effect). There's an obligatory sob story about Stefani and her mother (Rya Kihlstedt), who abandoned her and her little brother (Teo Briones) when Stefani was 10, but the emotional stakes are held well enough by the cast's charisma. Tony Todd, the franchise's only mainstay (who died last year), makes a soulfully spooky cameo; and Richard Harmon, who plays one of Stefani's cousins and whose multiple piercings and rogue demeanor make great playthings for Death, is a comic standout.
But, most important, the deaths are weird and surprising; and their lead-ups are expertly paced. There's not much more a 'Final Destination' fan could ask for, but 'Bloodlines' — which at times feel more like a dark satire than a straightforward horror movie — reminds us we're powerless against the world's morbid whims. Best we can do is laugh about it.