Final Destination: Bloodlines takes a long-running horror saga to death-defying new heights

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It’s unlikely that my enthusiastic claim about TobyMac’s sixth album being a masterpiece would change the mind of people who aren’t already fans of the band. Artistic works usually don’t get multiple chances to prove their worth. If you’re not captivated by the first two episodes of a show, you probably won’t stick around for the climactic sixth episode that might completely change the storyline. Similarly, if an artist has produced five poor paintings, there isn’t much expectation for their sixth one to be any better.

Compared to a typical song by TobyMac, the “Final Destination” movie series was never overly annoying. However, the series’ overall quality typically fell into the 2.5-star range (according to Letterboxd terms). The original film from 2000 was decent, but not particularly memorable. “Final Destination 3” had some good performances by Mary Elizabeth Winstead and interesting split diopter shots, but it still didn’t quite hit the mark. As for “The Final Destination 3D,” it’s best to avoid discussing it altogether as it was generally disliked.

As a movie enthusiast, I must confess that I was taken aback by the enchanting twist in the 2011 version of “Final Destination 5”. It was as if a burst of creative darkness and visual flair was infused into this series, making it not only terrifying but also delightful, right down to the end credits, which danced to the rhythm of AC/DC. In an unexpected turn of events, the sixth installment, “Final Destination: Bloodlines”, is undeniably the first genuinely captivating chapter in this horror tale. Sometimes, the sixth attempt truly does prove to be charming. TobyMac, it seems there might just be hope for you yet.

Screenwriters Guy Busick and Lori Evans Taylor skillfully initiate the storyline of ‘Bloodlines’ with a captivating prologue set in 1968, focusing on young Iris Campbell (portrayed by Brec Bassinger). They visit an innovative restaurant high above ground, the Skyview. The opening scene is filled with a delightful absence of cynicism, featuring classic character types that create a lively ambiance for ‘Bloodlines’. A troublesome child and an overzealous elevator operator are among the characters introduced in this segment, along with a haughty Maitre’d reminiscent of Ian Richardson.

As Iris senses a growing unease on the Skyview dance floor, directors Zach Lipovsky and Adam Stein, along with editor Sabrina Pitre, demonstrate their exceptional flair for dramatic storytelling. The lighthearted preludes to gory chaos (such as a coin flying through the air) bring about a smirk, but the swift transitions in this sequence are particularly striking. The scene seamlessly shifts from close-ups of singers passionately performing “Shout” by the Isley Brothers to a cook preparing food over an open flame, and feet tapping on progressively treacherous ice, all creating a palpable sense of impending doom in your gut. They skillfully extract every ounce of enjoyment from this tension-filled build-up.

It’s interesting to note that Lipovsky and Stein are using a fresh visual style in the new “Final Destination: Bloodlines” which sets it apart from previous films. The rapid cuts, closer framing, vintage costumes, and sunset-hued settings make the prologue stand out against the earlier five opening scenes of this series. Moreover, focusing solely on Iris instead of swiftly moving through various college students, co-workers, or NASCAR spectators heightens the emotional intensity of the scene as we watch Iris gradually understand something is amiss. This singular focus creates a sense of tension that becomes even more intense because we follow one person’s journey. However, as you may have guessed, everyone in this scenario eventually perishes, including Iris…until Stefani Reyes (Kaitlyn Santa Juana) awakens.

In present times, a college student named Stefani finds herself tossing and turning at night due to chilling dreams about mass deaths at the Skyview. However, it wasn’t just an eerie coincidence or a relic from the past. It was discovered that Iris, who is Stefani’s grandmother, had this prophetic dream during her fateful trip to the Skyview. As fans of the last five Final Destination films know, death doesn’t take kindly to being evaded. In fact, nobody should have survived the catastrophic collapse at Skyview. Since then, death has been relentlessly pursuing all survivors and their descendants. Now, it seems that Stefani and her kin – including her brother Charlie (Teo Briones), their estranged mother Darlene (Rya Kihlstedt), Uncle Howard (Alex Zahara), his children Julia (Anna Lore), Erik (Richard Harmon), and Bobby (Owen Patrick Joyner) – are about to face the consequences of Iris’ vision.

The narrative of “Bloodlines” intensifies significantly at this point as the offspring of Iris start to perish one by one. Regrettably, Busick and Taylor’s script doesn’t handle the family drama quite as skillfully as it does the captivating prologue. The plot tries to tackle more than it can handle when it comes to intricate conflicts between family members. For example, Darlene, portrayed as the missing mother, is clumsily and abruptly brought into the storyline, much like Stefani’s resentment towards her. Similarly, Charlie’s annoyance over his sister growing distant lacks subtlety, with more emphasis on telling rather than showing.

In the darkly humorous series Bloodlines, the creative dialogue exchanges between family members arguing and accusing each other of absence feel more like required interactions than spontaneous ones. Fortunately, these scenes don’t monopolize the screen time from the main appeal: the outrageously animated death sequences. The writers and directors delight in crafting unexpected twists and misdirections for character deaths, with the amusingly morbid sidekick Erik being a particular favorite for such tricks. The death scenes themselves are just as enjoyable due to their excessive flair, especially a uniquely gruesome killing in a hospital setting. Black comedy is the star of Bloodlines, and it’s delectable.

The deliciousness of this production is greatly attributed to Lipovsky, Stein, and cinematographer Christian Sebaldt’s keen eye for visual storytelling. For instance, a supporting character meets their end casually strolling down the sidewalk in the distance during a wide shot, while three other characters are engrossed in a lively debate about Death’s suitability as a slasher villain, unaware of the impending doom. This contrast is humorously set against the backdrop of the conversation. The meticulous staging and seamless editing make this scene hilarious. Additionally, the clever utilization of IMAX cameras to capture every gruesome detail of the carnage adds to the fun. It’s quite ironic that equipment once used for filming nature documentaries and Christopher Nolan movies is now capturing people’s heads exploding.

In the realm of the Final Destination series, it’s the Bloodlines that uniquely possess these captivating elements. It seems as though Lipovsky & Stein and their team examined the previous five films and chose to create something that tapped into all their unused potential, rather than a monotonous remake. This film stands out among many horror movie sequels from the past decade due to its legacy. Interestingly, the Bloodlines script also features an older woman, who has been in hiding, in secluded surroundings, preparing for her traumatic past to reemerge.

In contrast to the original Final Destination series, where characters have a finite lifespan, the standalone film Bloodlines doesn’t rely on recurring characters like Sydney Prescott or Laurie Strode. Instead, it offers a unique charm and distinct visual style, differentiating itself from previous installments. For instance, the use of playful Dutch angles and contrasting gruesome deaths with bright suburban settings is a notable change. The directors of the 2019 Kim Possible movie have pulled off something more daring than escaping death; they’ve made a sixth Final Destination film enjoyable rather than just a money-grab. It’s unlikely that any long-running horror franchise will reach its creative potential like this one, except perhaps for Insidious. There seems to be no hope for redemption from those dismal movies.

Aside from the main points in this review, I feel compelled to highlight Tony Todd’s powerful performance in just one scene of Bloodlines. Witnessing such a veteran actor like him in one of his final film roles on an expansive IMAX screen was truly remarkable. The horror genre will undoubtedly miss the impact that this legend has left on it.

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2025-05-17 15:15