Sixth episode is funny

The Grim Reaper should collect a new generation of fans with the sixth entry of the venerable series of horror films which died, the sign was born, a quarter of a century ago. Arriving 14 years after the last episode – An eternity according to the standards of franchise – Final destination Bloodlines Gives his audience exactly what they expect. Namely, a series of Rube Goldberg’s ingeniously designed, designed, which are mainly in the field of the possibility that you find yourself crossing the street very carefully after leaving the theater.

The fact that death itself is the protagonist, rather than certain homicide maniacs wearing a mask, is what gives these films their morbid pace. It is unlikely that most of us go through the path of a serial killer. But it is too easy to imagine slide into the shower or get hit by a bus. THE Final destination The films simply enlarge these banal anxieties and put them up to the nth degree, leaving you a nervous wreck in the process.

Two directors, Adam Stein and Zach Lipovsky, managed this episode expertly, which presents a superbly choreographed opening sequence which can be the best in the series. It took place in 1969, when a young couple, Iris (Brec Bassinger) and Paul (Max Lloyd-Jones), arrived for dinner in a restaurant located at the top of an extremely large tower. Needless to say, things are starting to be horribly wrong in a series of disastrous events that lead to hordes of losers in life in the most horrible way. Just say that you will never hear “rain drops continue to fall on my head” in the same way. (This is one of the many drops of needle in a fun way, like “Ring of Fire” and “Spirit in the Sky”, in the film.)

Aficionados of the series will quickly guess that everything was in fact a premonition experienced by Iris who saved dozens of lives. Years later, her granddaughter Stefani (Kaitlyn Santa Juana) suffers from recurring nightmares of the same events, although she has no idea of ​​the personal connection.

A little excavation in his family history makes him visit his now elderly grandmother (Gabrielle Rose), who lives reclusely in a very fortified cabin at the bottom of the woods. Iris explains that by saving everyone’s life on the tower, she deceived death, who has since devoted herself to rectifying the error by systematically killing not only the survivors but also their descendants (who otherwise would not be born). This includes Stefani and family members, whom she tries to warn and protect. It is not a spoiler to reveal that his efforts are roughly for nothing.

It is not so but how The victims will die which give these films their juice, and Final destination Bloodlines does not disappoint. He gets bogged down in a tedious intrigue revolving around the dysfunctional family dynamic that makes you impatient so that deaths are starting to come. But once they do, macabre pleasure resumes. The bloody sets, involving things like a lawn mower, a garbage truck and, the most spectacular, an MRI machine, are so intelligently orchestrated that the public of the projection of the preview applauded each as if they were song and dance numbers. The combination of CGI and practical effects works transparently, and the sequences are modified sadically modified for maximum voltage, which is fortunately relieved by frequent doses of biting humor.

Santa Juana is a courageously courageous heroine, and Richard Harmon has very funny moments like one of Stefani’s sarcastic cousins. But the culmination of actor comes from the late Tony Todd, a pillar of the series which appears on the final screen in its role of signature as mysterious William Bludworth. The actor, to whom the film is dedicated, returns for a brief scene, the air very fragile and obviously sick. But it is nevertheless dominant, providing a poignant recall that in real life, as in these films, death comes for everyone.