Movie Review: Final Destination: Bloodlines (2025) – A Gory, Hilarious Reboot That Revitalizes the Franchise
After a 14-year hiatus, the Final Destination franchise returns with Final Destination: Bloodlines, released on May 16, 2025, by Warner Bros. Pictures. Directed by Zach Lipovsky and Adam Stein, with a screenplay by Guy Busick and Lori Evans Taylor, this sixth installment injects fresh energy into the beloved horror series. Known for its Rube Goldberg-style death sequences, the franchise has always thrived on turning mundane objects into lethal traps. Bloodlines leans hard into dark comedy while introducing a novel family-centric twist, delivering a blood-soaked, crowd-pleasing spectacle that critics and fans hail as one of the best entries yet. With a stellar cast, inventive kills, and a poignant farewell to horror icon Tony Todd, Bloodlines is a gleefully absurd ride that respects its roots while carving a bold new path.
Set in 1968, the film opens with a jaw-dropping sequence at the Skyview Restaurant Tower, where Iris Campbell (Brec Bassinger) and her fiancé Paul (Max Lloyd-Jones) attend the venue’s grand opening. Iris’s premonition of a catastrophic collapse—triggered by a stray penny, a chandelier shard, and a gas leak—saves lives but sets Death’s relentless plan in motion. Fast-forward to 2025, college student Stefani Reyes (Kaitlyn Santa Juana), Iris’s granddaughter, is plagued by nightmares of the same disaster. Returning home, Stefani reconnects with her father Marty (Tinpo Lee), estranged brother Charlie (Teo Briones), uncle Howard, aunt Brenda (Rya Kihlstedt), and cousins Erik (Richard Harmon), Julia (Anna Lore), and Bobby (Owen Patrick Joyner). She learns from her reclusive grandmother Iris (Gabrielle Rose) that Death is targeting their entire bloodline, seeking to correct the survival of those who cheated fate decades ago. Armed with Iris’s “series bible” of Death’s rules, Stefani races to save her family from increasingly bizarre and brutal demises.
Bloodlines stands out by shifting the franchise’s focus from random groups to a family, adding emotional stakes to the carnage. The concept of a hereditary curse—Death hunting an entire bloodline—feels fresh, as IndieWire notes, making the stakes more personal than in previous entries. The directors, known for their indie sci-fi hit Freaks (2018), embrace a Sam Raimi-esque blend of horror and comedy, with kinetic cinematography by Christian Sebaldt and sharp editing by Sabrina Pitre. The opening Skyview collapse, described by The Guardian as having a “Looney Tunes” quality, sets a chaotic tone with a piano flattening a child—a moment so absurd it drew cheers at screenings. From there, the film delivers a relentless parade of kills involving lawnmowers, garbage trucks, and an MRI machine, each crafted with a mix of practical and VFX effects that Variety praises for their seamless execution.
The film’s humor is its biggest departure, leaning into self-aware gags and fan service. Callbacks to earlier films—logging trucks, buses, ceiling fans—delight longtime fans, while decoy twists keep even veterans guessing, as Lensmen Reviews highlights. A standout sequence in a tattoo parlor, though less effective per IGN, sets up a hilarious payoff, showcasing the directors’ knack for misdirection. Richard Harmon’s Erik, with his piercings and snarky attitude, steals scenes, his performance described by The Hollywood Reporter as adding “morbid humor” to the tension. Kaitlyn Santa Juana anchors the film with emotional urgency, though Bloody Disgusting notes the family’s underdeveloped dynamics limit deeper resonance. The ensemble, including Teo Briones and Owen Patrick Joyner, brings infectious chemistry, making the characters more likable than the series’ usual disposable victims, a critique often leveled at past entries.
Tony Todd’s final appearance as William Bludworth, the cryptic mortician, is the film’s emotional core. Filmed before his passing in November 2024, Todd’s frail yet commanding presence, as Roger Ebert notes, transforms his scene into a profound meditation on mortality, retroactively deepening the franchise’s mythology. His cryptic advice to Stefani—delivered with a rumbling voice despite his visible illness—earned applause at premieres, a fitting sendoff for a horror legend. However, the film isn’t flawless. The second half slows with family drama that The Hollywood Reporter calls “tedious,” and some VFX, particularly in the climax, stretch believability, per Times of India. Critics like Discussing Film argue the script’s campiness borders on self-parody, borrowing too much from recent legacy sequels like Scream (2022).
Critically, Bloodlines is a triumph, earning a 92% “Certified Fresh” rating on Rotten Tomatoes, the highest in the franchise. The consensus praises its “surprising emotional layers” and “grisly set pieces executed with precision.” Audience reactions on social media echo this, with fans calling it a “splattery blast” and “hysterical fun,” though some found the climax flat. The film grossed $5.5 million in Thursday previews, with projections of $35–50 million for its opening weekend, signaling strong commercial appeal. Its 110-minute runtime feels brisk, though Bloody Disgusting notes a lack of suspense compared to earlier entries.
Final Destination: Bloodlines doesn’t reinvent the wheel but polishes it to a bloody shine. It’s a love letter to fans, packed with inventive kills, dark humor, and a heartfelt farewell to Tony Todd. While its story lacks the depth of its best predecessors, its playful tone and clever twists make it a standout, as Forbes and The New York Times affirm. For horror fans craving a theatrical experience, especially in IMAX or 4DX, it’s a thrilling return to form. See it with a crowd, cringe at the gore, laugh at the absurdity, and leave wary of every stray bolt.
