Final Destination Bloodlines: A bloody good time

Our love for gory, gruesome, freak accidental deaths (on the big screen) began with the first installment of 'Final Destination' in the year 2000. Now, 25 years later, the franchise is back again, deadlier and more horrifying than ever. 

After over a decade of silence, the 'Final Destination' franchise roars back to life with 'Bloodlines', a film that proves Death is still the most ruthless force in horror cinema. 

Directed by Zach Lipovsky and Adam B Stein, this sixth instalment takes the franchise's signature formula—premonitions, elaborate death sequences, and the inevitability of fate—and injects it with fresh blood, figuratively and literally.

The 'Final Destination' series thrives on a simple premise: a premonition saves a group from disaster, only for Death to hunt them down in spectacularly convoluted ways. 'Bloodlines' honours this blueprint but introduces a novel twist by weaving a multi-generational narrative. 

The story begins in 1968, with a catastrophic event at the Skyview, a towering restaurant that screams retro-futuristic hubris. Fast-forward to 2025, and we follow Stefani Reyes (Kaitlyn Santa Juana), a college student plagued by nightmares that echo her grandmother's past. 

Screenplay and storytelling

Unlike previous entries, which focused on a random group of strangers, 'Bloodlines' introduces a family curse, adding more emotional stakes. The film's pacing is relentless, balancing moments of eerie suspense with shocking bursts of violence. The opening sequence, a sepia-toned flashback to the 1960s, is one of the most visually stunning and nerve-wracking introductions in the franchise's history.

The script is smartly structured, with seven robust set pieces that allow each death sequence to breathe rather than rushing through a flurry of micro-scenes. But, sometimes, it relies on tropes and clichés from other horror sequels, particularly 'Scream' (2022).

The writers lean into the franchise's self-awareness, playing with audience expectations—when you think you've cracked Death's plan, the film pulls a rug out from under you with a devilish grin. 

While the dialogue occasionally dips into melodrama, it's delivered with enough campy charm to feel like a nod to the series' B-movie roots. The screenplay's greatest strength is its ability to balance horror with humour, ensuring that every gruesome payoff is as entertaining as horrifying. It's not reinventing the wheel but polishing it to a bloody sheen.

Graphics and cinematography

Visually, 'Bloodlines' is a triumph, thanks to cinematographers and editors who wield their craft like surgeons with a penchant for chaos. 

The film's opening sequence at The Sky View Tower is a technicolour nightmare, blending 1960s aesthetics—think teal dresses and slicked-back hair—with a creeping sense of dread. Close-ups of seemingly innocuous objects (a flickering light, a loose screw) are framed with a deliberate sense of dread.

The film's use of colour is striking. Vibrant retro hues give way to stark, modern greys as the timeline shifts to 2025, mirroring Stefani's unravelling psyche.

The cinematography captures the eerie inevitability of fate with slow-building tension, lingering shots on seemingly harmless objects, and a colour palette that shifts from warm nostalgia to cold dread. 

However, the CGI lacks quality in scenes like the sky tower, detracting from the visual impact. 

The film pays homage to iconic moments from previous instalments while introducing new, inventive ways for Death to claim its victims. Every frame is packed with foreshadowing that keeps audiences on edge.

While some scenes tip into cartoonish excess (a falling piano moment borders on 'Looney Tunes'), the directors embrace this absurdity, ensuring it complements rather than undermines the horror.

Characters and performances

The ensemble of 'Bloodlines' is a refreshing departure from the franchise's usual parade of disposable teens. Kaitlyn Santa Juana anchors the film as Stefani, a frazzled yet determined heroine whose emotional journey grounds the chaos. 

Her performance is raw and relatable. It captures the weight of inherited trauma without losing the resilience needed to face Death head-on. 

Brec Bassinger, as the young Iris in the 1968 prologue, brings a wide-eyed intensity that makes her premonition sequence unforgettable. 

A strong supporting cast fleshes out the family dynamic, including Richard Harmon, a snarky yet sentimental cousin who steals scenes with his biting one-liners, and Rya Kihlstedt, Stefani's distant mother, whose quiet pain adds depth to the narrative.

In his final role as William Bludworth, the late Tony Todd is the film's emotional linchpin. His scenes as the cryptic mortician are brief but poignant, delivering a heartfelt farewell that resonates with long-time fans. 

Dialogues and atmosphere

The dialogue in Bloodlines is sharp, laced with dark humour and ominous warnings. At the same time, it walks a tightrope between campy fun and earnest drama, with mixed results. 

The writers embrace the franchise's penchant for dark humour, particularly in Harmon's sarcastic quips, which land like well-timed jabs in a boxing match. Lines like "Death doesn't send RSVP's" capture the film's tongue-in-cheek tone. 

However, some expository exchanges feel stilted, veering into telenovela territory that can pull you out of the moment. The sound design amplifies the tension, with eerie whispers, sudden silences, and the unsettling creaks of objects that seem to have a life of their own.

'Final Destination: Bloodlines' is a worthy revival of the franchise. It delivers the gory spectacle fans crave while introducing a fresh narrative twist. 

Though some characters exist solely to be gruesomely dispatched, the film's inventive kills, gripping atmosphere, and nostalgic callbacks make it a thrilling ride. 

Would I recommend it? If you're a fan of the franchise. If you're new to 'Final Destination', prepare for a blood-soaked, anxiety-inducing experience that will have you questioning every seemingly harmless moment in your daily life.