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<blockquote data-quote="Mel O&#039;Drama" data-source="post: 445799" data-attributes="member: 23"><p style="text-align: center"><strong><span style="font-size: 22px">Final Destination: Bloodlines</span></strong> (2025)</p> <p style="text-align: center"></p> <p style="text-align: center"><img src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fm.media-amazon.com%2Fimages%2FM%2FMV5BMzc3OWFhZWItMTE2Yy00N2NmLTg1YTktNGVlNDY0ODQ5YjNlXkEyXkFqcGc%40._V1_FMjpg_UX1000_.jpg&f=1&nofb=1&ipt=e45afa923783b1d7ad773cf8afbe44465c1001c94eb774305c3672c02767d6f2&ipo=images" alt="" class="fr-fic fr-dii fr-draggable " style="width: 572px" /></p><p></p><p>The bloody death porn series celebrates a quarter of a century with an entry that, as this series goes, is pretty decent. As I watched, I found the word "substantial" coming to mind. Not by most standards, you understand, but for a series that is built around gross-out death tableaus, it's pleasing when there is an honest-to-god story surrounding it.</p><p></p><p>This is a huge saving grace, because one of the film's weakest aspects is the visuals around these deaths. The series has always been rather like a Road Runner cartoon, but this feels next level here, with CGI permitting everything in the writers' heads to make it on to screen... and the result is underwhelming. In place of practical creativity comes airbrushed artifice. It's kind of fascinating to watch, but doesn't get the toes curling and the stomach churning quite as much as it would seem on paper.</p><p></p><p>Possibly my favourite "how's it going to happen" takes place in a tattoo parlour, set to Air Supply's version of <em>Without You</em> and the reason it's my favourite is because of the choreography of the actor playing the victim, which looks done for real, jumping from this prop to that prop as the predicament escalates. It's like watching a beautiful piece of performance art. And the irony is[ISPOILER] it's a fake-out insofar as there is no death. [/ISPOILER]</p><p></p><p>The song was one of a number of several pieces of curated pop, rock and easy listening gems that are pleasantly nostalgic. I mean, it includes The Pina Colada Song, for heaven's sake. I initially thought Johnny Cash's <em>Ring Of Fire</em> was going to be THE warning song of this film (every <em>FD</em> film has one, I think), but it turned out to be <em>Shout</em> (I'm not sure if it was The Isley Brothers version - which appears on the soundtrack - or one recorded for this film by the performer who appears to sing it onstage. Both were new to me anyway, as the version I know and love most is by Lulu and The Luvvers)</p><p></p><p>On the subject of music - Tim Wynn's score was very bracing, and I enjoyed the occasional nod to Shirley Walker's ominous music from the original <em>FD</em> film.</p><p></p><p>Something that surprised me was how long this film took to set up the requisite opening accident. We spent a lot of time with this film's precog and her boyfriend and the people I assumed would be our cast for the rest of the film, and I appreciated the slow build. The late-Sixties visuals were enjoyable, even if there is simply no mistaking a Zoomer playing a Baby Boomer (Gen-Z simply do not grasp the concept of a world - or time - other than their own, which meant the performance didn't convince. Rather than inhabiting the character, the precognitive girl simply was a Zoomer, talking like a Zoomer while wearing a miniskirt and headband).</p><p></p><p>The present-day characters are fine. Most are engaging. There are a couple of weaker performances - peanut allergy guy and female cousin #1 were blandly generic - but happily there's an absence of "the whiny one" template from other films (think annoying Carter from the first film or that moany bitch of a serial killer from the fifth).</p><p></p><p>As mentioned, though, the story is what works with this film and this one feels ambitious in its scope. The arc runs from the late-Sixties to the present day, tied together in a logical way, It doesn't tap into earlier films as much as I'd have liked (I wanted the bloodline to cleverly connect to Flight 180, but the only overt reference to an earlier story that I noticed was someone relaying Kimberly's "die to survive" strategy from the first sequel. Naturally, there's a visual of a log truck as well, which seems to have somehow become this franchise's key motif), but <em>Bloodlines</em> introduces a welcome new spin on what is by now a very familiar concept.</p><p></p><p>I particularly enjoyed that this changed just enough to interest without feeling like a full-on reboot. I don't even think it's a requel. It's just a decent sequel that found its own way to tell the story. The key connection to the overarching thread of the franchise is the presence of Tony Todd in one of his final roles (the film was released after his death). Before watching, I would have been very sceptical of an "origin" story for the mysterious Bludworth. It's the nicest of surprises that it works here to flesh out the story and add layers to what's come before. His character here is in the same position as Tony himself, knowing that his death is imminent and this is utilised to allow Tony to effectively write his own memorial. If this film is remembered for anything, Tony's small but perfectly formed scene really must be it.</p></blockquote><p></p>
[QUOTE="Mel O'Drama, post: 445799, member: 23"] [CENTER][B][SIZE=6]Final Destination: Bloodlines[/SIZE][/B] (2025) [IMG width="572px"]https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fm.media-amazon.com%2Fimages%2FM%2FMV5BMzc3OWFhZWItMTE2Yy00N2NmLTg1YTktNGVlNDY0ODQ5YjNlXkEyXkFqcGc%40._V1_FMjpg_UX1000_.jpg&f=1&nofb=1&ipt=e45afa923783b1d7ad773cf8afbe44465c1001c94eb774305c3672c02767d6f2&ipo=images[/IMG][/CENTER] The bloody death porn series celebrates a quarter of a century with an entry that, as this series goes, is pretty decent. As I watched, I found the word "substantial" coming to mind. Not by most standards, you understand, but for a series that is built around gross-out death tableaus, it's pleasing when there is an honest-to-god story surrounding it. This is a huge saving grace, because one of the film's weakest aspects is the visuals around these deaths. The series has always been rather like a Road Runner cartoon, but this feels next level here, with CGI permitting everything in the writers' heads to make it on to screen... and the result is underwhelming. In place of practical creativity comes airbrushed artifice. It's kind of fascinating to watch, but doesn't get the toes curling and the stomach churning quite as much as it would seem on paper. Possibly my favourite "how's it going to happen" takes place in a tattoo parlour, set to Air Supply's version of [I]Without You[/I] and the reason it's my favourite is because of the choreography of the actor playing the victim, which looks done for real, jumping from this prop to that prop as the predicament escalates. It's like watching a beautiful piece of performance art. And the irony is[ISPOILER] it's a fake-out insofar as there is no death. [/ISPOILER] The song was one of a number of several pieces of curated pop, rock and easy listening gems that are pleasantly nostalgic. I mean, it includes The Pina Colada Song, for heaven's sake. I initially thought Johnny Cash's [I]Ring Of Fire[/I] was going to be THE warning song of this film (every [I]FD[/I] film has one, I think), but it turned out to be [I]Shout[/I] (I'm not sure if it was The Isley Brothers version - which appears on the soundtrack - or one recorded for this film by the performer who appears to sing it onstage. Both were new to me anyway, as the version I know and love most is by Lulu and The Luvvers) On the subject of music - Tim Wynn's score was very bracing, and I enjoyed the occasional nod to Shirley Walker's ominous music from the original [I]FD[/I] film. Something that surprised me was how long this film took to set up the requisite opening accident. We spent a lot of time with this film's precog and her boyfriend and the people I assumed would be our cast for the rest of the film, and I appreciated the slow build. The late-Sixties visuals were enjoyable, even if there is simply no mistaking a Zoomer playing a Baby Boomer (Gen-Z simply do not grasp the concept of a world - or time - other than their own, which meant the performance didn't convince. Rather than inhabiting the character, the precognitive girl simply was a Zoomer, talking like a Zoomer while wearing a miniskirt and headband). The present-day characters are fine. Most are engaging. There are a couple of weaker performances - peanut allergy guy and female cousin #1 were blandly generic - but happily there's an absence of "the whiny one" template from other films (think annoying Carter from the first film or that moany bitch of a serial killer from the fifth). As mentioned, though, the story is what works with this film and this one feels ambitious in its scope. The arc runs from the late-Sixties to the present day, tied together in a logical way, It doesn't tap into earlier films as much as I'd have liked (I wanted the bloodline to cleverly connect to Flight 180, but the only overt reference to an earlier story that I noticed was someone relaying Kimberly's "die to survive" strategy from the first sequel. Naturally, there's a visual of a log truck as well, which seems to have somehow become this franchise's key motif), but [I]Bloodlines[/I] introduces a welcome new spin on what is by now a very familiar concept. I particularly enjoyed that this changed just enough to interest without feeling like a full-on reboot. I don't even think it's a requel. It's just a decent sequel that found its own way to tell the story. The key connection to the overarching thread of the franchise is the presence of Tony Todd in one of his final roles (the film was released after his death). Before watching, I would have been very sceptical of an "origin" story for the mysterious Bludworth. It's the nicest of surprises that it works here to flesh out the story and add layers to what's come before. His character here is in the same position as Tony himself, knowing that his death is imminent and this is utilised to allow Tony to effectively write his own memorial. If this film is remembered for anything, Tony's small but perfectly formed scene really must be it. [/QUOTE]
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