There’s not many films that can give you that specific thrill when the pieces are in place and the domino effect is triggered. This franchise is still capable of creating that adrenaline rush.
Final Destination is one of the most popular horror franchises to emerge this century. This year it celebrates its 25th anniversary with the release of the sixth instalment which comes 14 years after the last. I am a big fan of this franchise. My experience with the first three films around the age of 11, served as one of my primary gateways into the horror genre. I was obsessed with these films back then and would always welcome a new instalment, especially because we don’t get them as frequently as other horror franchises.
Final Destination: Bloodlines follows Stefani (Kaitlyn Santa Juana), a college student plagued by reoccurring nightmares of a disaster that claimed many lives. In a search for clarity she heads home to track down the one person who may be able to break the cycle of death, and save her family from the demise that awaits them all.
This instalment opens in the 1960’s with what appears to be the largest opening set piece in the franchise yet. I wouldn’t be surprised if I heard that a majority of the budget went towards this sequence. It takes place within a restaurant atop a large tower and once the carnage ensues, it’s a gory affair with bodies falling, getting crushed and being set ablaze. Whilst there is a level of practicality to the set of the restaurant itself and even some of the stunts, including one that broke the record for having the oldest stunt performer to be set on fire. The scene demands a heavy reliance on visual effects which yield mixed results.
This scene features all the gory madness you’d want from an opener in this franchise but it lacked the palpable nature of some of the series’ best and most iconic incidents. I know what it feels like to be on a plane, on a highway and on a rollercoaster. So I can relate to the fear that is created by seeing disastrous accidents occur involving those things, which can be close to reality. The same can’t be said for this sequence and the visual effects made it seem even more removed from reality. I don’t think it successfully recreated the 60’s that well either. It felt like I was watching actors speaking in a modern way in what was supposed to be at 60’s setting.
The first act has some issues when establishing the narrative set up after the opening incident. This comes in the form of a horror genre trope that I’m not too fond of. That’s the cliche moment where the characters seek out an older person who seems a little crazy, and can give them a big exposition dump to explain what’s occurring and how to overcome it. Usually these moments come in the third act of a film but in Bloodlines it happens within the first. This is what makes the first act feel disjointed and it’s certainly the weakest portion of the film.
The story itself feels fresh because in the past we’ve experienced Final Destination stories through students, strangers, and co-workers. Bloodlines presents an engaging story through the fresh perspective of a family caught in death’s design. It’s a refreshing change and the script did a surprisingly good job at keeping the family drama interesting, so when the scenes focus on them to drive the plot forward it maintained my full interest. This story introduces new elements of lore via the familial aspects but it still finds ways to honour the established lore that was introduced in the previous films.
The lead performance from Kaitlyn Santa Juana is good and some of the supporting characters were likeable, with the main one being Erik portrayed by Richard Harmon. He is the source of much of the films humour but his character is significant to the narrative in an unexpected way. The standout is the late Tony Todd whose singular scene moved me. It’s touching given the nature of his character in the franchise and the fact that he passed away last year. His inclusion within this story has more purpose than you’d expect and If that’s his final on screen appearance, that’s a beautifully poetic way to complete his career and bid farewell.
Beyond the shaky first act, the film finds its stride with the family drama and suspense. There aren’t many death set pieces and this may have the smallest death count in the franchise for core characters. Thankfully these death sequences are finely crafted within a focus on generating suspense and slowly sustaining it for a long time, whilst throwing a lot of possible hazards at the audience to keep them on their toes about what will end up killing a character. This is the core formula to creating a great Final Destination death and this film is consistent at following that formula effectively, and even throwing in some immediate deaths for good measure.
There’s some glorious moments of violence which made myself and the crowd in my cinema audibly react. Some of the quicker kills are over the top but that’s what makes them funny and entertaining. There’s one sequence in a hospital that culminates in an excruciatingly brutal death that has everything. Suspense, shocks, misdirects, humour and of course gore. It’s a hall of fame sequence that is among the greatest in the franchise. I forgot how thrilling it was to watch a new Final Destination film for the first time. There’s not many films that can give you that specific thrill when the pieces are in place and the domino effect is triggered. This franchise is still capable of creating that adrenaline rush.
The original trilogy tapped into common activities and made them a hazardous threat which is what made the franchise so effective. A plane crash, a highway pile up and a rollercoaster derailing were fears people already had which the films capitalised on. The individual death scenes within those films exploited the potential dangers of everyday things such a tanning salon, a gym and a dentist. Bloodlines doesn’t really do that. Ever since The Final Destination (the terribly titled fourth instalment) the franchise has strayed away from those everyday relatable activities that most people engage with. That paired with the sometimes underwhelming CGI makes the deaths enjoyable but less effective. With this film coming 14 years after the last, I was hoping to see a death that would relate to some form of contemporary activity that people have grown accustomed to within that time, but unfortunately there is nothing like that which is a missed opportunity.
This is the longest film in the franchise but it flew by because the pacing is on point. That’s a credit to the script being able to keep you invested during the downtime between deaths, so that the momentum of the story isn’t lost.
The ending is good but it doesn’t stray too far from what you might expect which is fine, although it would’ve been nice to get an ending that felt equally as refreshing as some other aspects of the story.
Final Destination: Bloodlines is a gory thrill ride that reminded me why I love the franchise. The new familial elements prove to be among the best parts of what this film has to offer, even if it can’t reach the heights of the franchise’s best.
★ ★ ★
This review was written by Terrelle Graham
Final Destination: Bloodlines. Starring Kaitlyn Santa Juana, Teo Briones, Richard Harmon, Owen Patrick Joyner, Rya Kihlstedt and Tony Todd. Runtime 110 minutes.