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Alongside “Saw“, the “Final Destination” franchise was a defining force in 2000s horror, so it’s no surprise that in today’s IP-driven landscape, the series returns after a 14-year hiatus with “Final Destination: Bloodlines”. This new installment will feel instantly familiar to anyone who’s seen even one of the previous films, but it also carves out something new and original within the franchise.
Staying true to tradition, “Final Destination: Bloodlines” kicks off with an elaborate accident sequence filled with horrific yet darkly comedic deaths. This time, the twist is a period setting—the year is 1968, and the chaos unfolds in a high-rise restaurant. It’s soon revealed that this isn’t reality but a recurring nightmare experienced by Stefani, with the woman in her dreams turning out to be her grandmother. This revelation sends Stefani on a quest to uncover the truth about her family—and the sinister plan death has in store for them.
From there, it’s a familiar and strangely comforting return to form, as the film glides from one tense set-piece to another, inviting the audience to guess how each character will meet their gruesome end. There are plenty of red herrings and misdirects along the way, but the death scenes remain inventive, with some even nodding to iconic moments from earlier films—like a truck hauling logs ominously passing by.
Despite all the carnage, one scene stands out: it features the final performance of Tony Todd, who was ill during production and sadly passed away before the film’s release. A horror icon for over three decades, Todd played Bludworth the coroner across three of the five previous Final Destination films. Fans long speculated he was Death incarnate, and “Final Destination: Bloodlines” finally offers an explanation for why he knows so much about death’s design. Todd was given the freedom to shape his last onscreen appearance, and knowing the circumstances adds a weight that’s hard to ignore. It struck a chord with me—the first time I’ve ever been genuinely moved by a scene in a Final Destination movie. Rest in peace, Mr. Todd.
The film itself benefits from the long hiatus and the injection of fresh ideas. “Final Destination: Bloodlines” is a fun, energetic return to form, and I had a genuinely good time watching it. It’s a reminder of how far the series has come—the original film was played almost entirely straight, with the plane explosion and aftermath treated with deadly seriousness, even with Sean William Scott in the cast. Bloodlines, on the other hand, leans confidently into black comedy, with several death scenes so absurdly over-the-top you can’t help but laugh.
The bloodlines concept introduced here does expand the scope of death’s design, allowing for more flexibility in the order of the kills—but at its core, it’s still the familiar formula of people dying one by one. I had hoped the film would spend more time in the 1960s setting, which had a strong, retro atmosphere. Unfortunately, that mood evaporates as soon as Stefani wakes up in the present day, and the story settles into more familiar territory.
Set in the modern day, the film also features a form of colorblind casting that feels more confusing than inclusive. Stefani and her brother Charlie are portrayed as Latino with their last name being Reyes even, their father appears to have Asian heritage, and their mother is white. It’s the kind of mismatched family dynamic that recalls the Fast and Furious series, where Dom somehow has a Black child with Michelle Rodriguez. Casting should be open and diverse, but it also helps if the family dynamics make at least a little visual or narrative sense.
That said, I still had fun returning to this franchise after a 14-year break. While the concept doesn’t offer much room for reinvention, the long gap makes the familiar beats easier to accept. But if they start pumping these out annually like in the 2000s, that goodwill might wear off quickly.
