Final Destination Bloodlines is an upcoming American supernatural horror film and the sixth installment in the Final Destination film series, following Final Destination 5 (2011).
Final Destination 6 Bloodlines
It is directed by Zach Lipovsky and Adam Stein and written by Jon Watts, Guy Busick, and Lori Evans Taylor.
It stars Kaitlyn Santa Juana, Teo Briones, Richard Harmon, Owen Patrick Joyner, Rya Kihlstedt, Anna Lore, Brec Bassinger, and Tony Todd, who reprises his role as William Bludworth in a posthumous appearance.
FINAL DESTINATION 6: Bloodlines Trailer (2025)
Part of what made 2000’s Final Destination so great was the way it framed itself as one of the self-aware slasher flicks that emerged post-Scream, but without the masked killer.
Removing the audience’s requirement to put their energies into solving a murder mystery and determining the identity of the villain, it offered a freeing viewing experience, one where the only obligations incumbent on viewers were pondering which elaborate confluence of events would lead to the next character’s grisly death.
And then leaned in hard.
And it still holds up! Admittedly, the film’s most effective moment—the bus—has since been copied so much as to have been entirely neutered, to a degree where such moments are now woefully predictable.
But there’s so much more besides, and it’s all delivered with a wink and a bucket of glee. It’s not a masterpiece, but it’s a really good time.
This was largely thanks to the writing team behind the movie: Glen Morgan and James Wong.
Any fan of X-Files would immediately recognize those names, the ones you’d sit up in delight at seeing appear during the opening moments of an episode, because it meant it’d be an absolute gem.
Despite all this, via what I contend was a snobbery that was rampant at the turn of the millennium, the movie was grimly reviewed, still sitting at a horrible 39 on Metacritic and 36 percent on Rotten Tomatoes.
This makes Final Destination one of the strangest horror franchises, as its review scores have climbed with each subsequent movie (other than the fourth, a 3D movie which was universally condemned, including by viewers), despite each generally being worse than the last.
As the 11 years went on, perhaps critics became less performatively weary of Scream-likes, and just acknowledged they were being offered a silly good time.
