If the definition of the most successful "final destination" movie can be attributed to "disturbing, but stupid," then the "final destination bloodline" of Zach Lipovsky and Adam Stein will maintain that balance as well as any previous installments.

Fourteen years after the Final Destination 5 brought the terror franchise in Final Destination 5, Lipovsky and Stein cleverly expanded their scope to fit in an interconnected universe, and Death steadily tried to regain victims in multiple generations. While Tony Todd's William Bludworth's example, a series of morbid charms, a series of fun, mostly flattering 20s, juxtaposes the proceedings with the violent creative killing of filmmakers.

In a frequently-appearing vision, her grandmother, Eris (Brec Bassinger) who was in the past, Gabrielle is now now) died during the opening of a space-type landmark in the 1960s, Stefani Reyes (Kaitlyn Santa Juana) left college to leave relentless insomnia to resolve her Stellar Stellar academic career. Stefanie's divorced parents dissuaded her from exploring the family's troubled history too deeply for answers, but she found her estranged grandmother and learned of a detailed plot that death itself had taken decades to pick those who survived the "Space Needle" disaster, but their descendants and loved ones.

It seems unlikely that Stefanie will be like the apocalyptic scene of Iris, and soon discovers that at least some of the grandmother’s theories are true, so the young woman invites her brothers Charlie and Teo Briones and Teo Briones and Cousins ​​to strike with the cosmic powers to get them all down. However, even if she was able to prevent a relative's disaster, Stefanie realized that the design of death was more meticulous and patient than she expected, forcing her to take drastic measures to stop the deadly chain of events and save as many lives as possible, even if it was her own price.

Since the event that must be (usually literally) explosive triggers every part of the fight against death, the "final destination" movie is always loaded ahead. "Bloodline" is no different: the exaggerated "Space Needle" sequence, although not as anxious as the highway piles in the second film, escalating to a gradual crescent is both inevitable and surprising. What makes the film different from its predecessor is that its characters receive early results from multiple forms of loss across the network of life, and possible ways to undermine it - thanks to the Bible constructed by Iris.

Since the original 2000s, Bludworth has been the historian of the "final destination" since the original historian in 2000, as Bludworth has both provided a gentle respect for the horror glowing and retroactive connective tissue between the franchise sub-chapters. Meanwhile, screenwriters Guy Busick and Lori Evans Taylor create a very dangerous situation for the characters while understanding the basic misleading of the film (especially in how everyone dies), and when the audience doesn’t have to pause the doubts too much to buy every killing incident, the audience doesn’t have to pause doubts.

If some characters might benefit from starer casting (Iris, an implicit survivalist like Meryl Streep, would have dropped the house), Santa Juana would be a solid, compelling anchor that could be a doomed ensemble, especially Richard Harmon's surprisingly thoughtful Stefani overpredicted Erik's overall vibe, which is Stefani overpredicted overall vibe. But like the most powerful installment payments in the series, Lipovsky and Stein Nimbly have a balanced balance in the midst of stomach pain and ridiculously incredible situations, it can be (and use the "final destination" that may have to).

In an era of interconnected cinematic universe, it took only six movies and 25 years to bring this horror franchise together - ironically, causality is the cornerstone of its myth. The clever, unpredictable and interesting "End Destination Bloodline" provides the series with creative blood transfusions that actually guarantee it will kill it again.