14 years on, death’s design is still the star in Final Destination's latest instalment
The sixth film in the Final Destination franchise, Bloodlines manages the rare horror feat of growing up without losing what made it fun in the first place.
After 14 years of silence, the Final Destination franchise is back from the dead—and for once, it’s not just another body count parade. Final Destination: Bloodlines, the sixth film in the series, revives the franchise with unexpected emotional depth, a moody period setting, and yes, some gloriously gruesome kills. But what really sets it apart is that it finally dares to ask: what if death isn’t just a twisted game of chance—but something written into your DNA?
Directed by Zach Lipovsky and Adam B. Stein, the movie takes the series into uncharted territory by going back in time. The film opens in 1969, where Iris Campbell (Brec Bassinger), a woman with unsettling visions, saves lives during a building disaster. But the reprieve is short-lived—as always, death comes knocking. Decades later, her granddaughter Stefani Lewis (Kaitlyn Santa Juana) starts experiencing similar premonitions. As history threatens to repeat itself, Stefani uncovers the terrifying truth: this isn’t just about one freak accident. It's about a family being hunted across generations.
The good
For a series known more for spectacle than storytelling, Bloodlines is surprisingly grounded. There’s a sincerity in the way it treats its characters, especially Stefani and her father, that’s rare for the franchise. The film takes its time building their relationship, giving weight to the tragedy that unfolds. It’s not just about who dies—it’s about how the survivors live with the fear of what’s coming.
Visually, the film is a treat. The 1960s sequences are stylish and unsettling, with saturated colors and period details that heighten the sense of doom. One standout moment—a premonition set to Shout by The Isley Brothers—manages to be both haunting and oddly beautiful. And yes, the death scenes still slap. They're tense, creative, and rooted in that classic Final Destination formula: a slow-burn setup where every object in the room feels like a loaded gun. An MRI machine, a misplaced ladder, a wind chime—they all become instruments of fate. Tony Todd’s return as the ever-cryptic William Bludworth is the cherry on top. He doesn’t overstay his welcome, but his brief appearance is enough to remind fans why he remains one of horror’s most iconic voices.
The bad
For all its ambition, Bloodlines doesn’t completely stick the landing. The final act, though emotionally charged, feels slightly rushed. You want more time to sit with the consequences, more time for the revelations to land. The casting of older Iris (Gabrielle Rose) also feels off—her performance lacks the presence that the role seems to demand. There are also moments where the film tries to explain too much, slowing down the pace just when the tension should be rising. Thankfully, these moments are few and far between.
The verdict
Final Destination: Bloodlines doesn’t just bring the franchise back—it elevates it. It keeps the signature thrills, the elaborate kills, and the fatalism fans love, but injects it all with a sense of purpose and pathos. This isn’t just about avoiding death anymore—it’s about understanding why death won’t let go. It’s rare for a horror franchise to return after a decade and feel both fresh and familiar. But Bloodlines pulls it off. It’s the smartest, sharpest, and most soulful film in the series—and a damn good reason to fear ceiling fans again.
