Final Destination: Bloodlines kicks off with a bang—literally. The opening sequence, set in a retro recreation of the 1960s tower collapse, is the kind of suspenseful, creatively staged mayhem fans of the franchise live for. It pays homage to the series’ roots: tension, chaos, and an eerily timed chain of events that ends in sheer devastation. It’s a visually impressive start that momentarily gives you hope that the 14-year wait might’ve been worth it.
Unfortunately, that’s where the fun stops. The story follows Stephanie Reyes, a college student haunted by violent nightmares, who discovers her visions are inherited from her grandmother—herself a survivor of Death’s design. While the concept of a family bloodline being cursed by Death is intriguing, the execution collapses faster than the ill-fated tower in Stephanie’s dreams. Kaitlyn Santa Juana, in the lead role, delivers a performance so wooden it’s almost admirable. Her portrayal of Stephanie lacks the urgency, fear, or any emotional depth needed to carry a horror flick, let alone revive a beloved franchise.
Graphic Deaths, Forgettable People
We always knew the deaths would be brutal—it’s Final Destination after all. And yes, the gore is dialed up to eleven with a few inventive kills that echo the franchise’s legacy. However, the characters are so flat, poorly written, and downright annoying that it’s hard to care who dies or how. You’re just left waiting for the next death to distract you from the empty dialogue and clunky pacing.
Tony Todd reprises his iconic role, adding a nostalgic touch, but even his presence can’t save this trainwreck. The original idea of exploring first responders was ditched, and while some of those elements remain, they feel forced into a plot that can’t hold itself together. Directors Zach Lipovsky and Adam B. Stein clearly love the series—they even faked a decapitation in their Zoom pitch—but passion alone doesn’t make a good movie.
Final Destination: Bloodlines is a disastrous comeback and a far cry from the smart, stylish horror films we’ve seen in recent years. It’s loud, gory, and ultimately hollow—a sequel that should have stayed dead.
