The Final Destination franchise is returning to theaters after 14 years, and early signs show that it may break records. The sixth film in the series, titled Final Destination: Bloodlines, is expected to earn between $35 million and $40 million in its opening weekend in the U.S. and Canada, which would make it the biggest domestic opening in the franchise’s 25-year history. The film is playing in 3,400 theaters across North America.
Looking beyond domestic figures, the global forecast for Bloodlines is $70 million, with releases planned in 74 territories. Warner Bros. and New Line Cinema are distributing the film. High awareness on social media, including over 50 million YouTube trailer views, has helped build momentum ahead of its debut. Some forecasts suggest the film could open as high as $60 million, which would mean it outperforms the lifetime domestic totals of earlier films.
Previously, the largest opening in the series belonged to The Final Destination from 2009, which earned $27.4 million in three days. That film went on to gross $66.47 million domestically. So if Bloodlines meets high-end estimates, it could surpass those figures in a single weekend.
Thus far, reviews have been strong. On Rotten Tomatoes, the film is 93% Certified Fresh, the highest in the series.
Key Takeaways
- Final Destination: Bloodlines is expected to open with $35–$40 million in the U.S. and $70 million globally, the biggest debut in the franchise’s history.
- The story follows Stefani Reyes, a college student haunted by visions of a 1968 skyscraper collapse that her grandmother survived, revealing a family curse linked to death.
- The film has a 93% Rotten Tomatoes score, features Tony Todd’s final performance, and includes highly praised, elaborate death scenes—one of which took five days to film.
A New Story That Connects to the Past
This new installment changes the formula. Rather than focus on random survivors of a disaster, Bloodlines tells a story connected to family and history. The main character is Stefani Reyes, a college student played by Kaitlyn Santa Juana, who starts having violent nightmares about a real-life tragedy: the collapse of a skyscraper in 1968. Her grandmother, Iris, survived that disaster.
Stefani returns home and learns more about the incident. She starts to believe her family is cursed. The film suggests that death is not just chasing individuals—it is following an entire bloodline.
The cast includes Teo Briones as Stefani’s younger brother Charlie Reyes, Richard Harmon as their cousin Erik Campbell, and Owen Patrick Joyner as Bobby Campbell. Anna Lore plays Julia Campbell, and Rya Kihlstedt appears as Stefani’s mother, Darlene Campbell-Reyes. Gabrielle Rose plays the older Iris Campbell, while Brec Bassinger plays a younger version in flashbacks.
The film also includes Tony Todd, returning as William Bludworth, the mysterious mortician who has appeared in previous Final Destination films. This marks Todd’s final performance, and his character gives an improvised monologue that serves as a farewell to the series. Critics have said that his short appearance adds emotional depth.
The film is directed by Zach Lipovsky and Adam B. Stein, who previously worked on the sci-fi film Freaks. The screenplay is by Guy Busick and Lori Evans Taylor, based on a story by Jon Watts.
Creative Deaths and Strong Visuals Drive the Film
As with every Final Destination movie, the death scenes are central. In Bloodlines, the filmmakers continue the franchise’s tradition of complicated, chain-reaction kills, which often involve common objects and situations that become dangerous through unexpected events.
One of the standout scenes involves Richard Harmon’s character, who dies after being pulled by a nose ring—a sequence that took five days to film. Critics say the death scenes in this film are among the best in the series. They include the use of lawn tools, an MRI machine, and even a falling piano.
Reviewers have compared the film’s death sequences to Rube Goldberg machines, with multiple steps and a mix of suspense and surprise. Some critics also noted that the deaths had a comedic edge while still keeping tension high. Frank Scheck of The Hollywood Reporter wrote that audience members clapped during some of the more elaborate kills.
The effects rely on both real setups and CGI, and while a few critics miss the old-school stunt work, most agree the visuals work well. In particular, the film plays well in IMAX, where small visual details make each moment feel more intense.
Critics and Fans React Positively
Critics have generally praised Bloodlines for refreshing the series while staying true to its style. Joel Harley of Starburst said the film closely resembles Final Destination 2, which many fans consider the best in the series. The film contains several references to that installment, including callbacks to specific scenes.
According to Radheyan Simonpillai of The Guardian, this film is “not only back but better than ever.” Other reviewers, such as Alison Foreman of IndieWire, noted that the movie works well as both a sequel and a soft reboot.
Although the movie includes many nods for longtime fans, it also works as a standalone story. Meagan Navarro of Bloody Disgusting said that Bloodlines is a good entry point for new viewers. Frank Scheck agreed, writing that the story could attract a younger audience unfamiliar with the earlier movies.
There are some criticisms. A few reviewers pointed out that a subplot about family dynamics slows down the story, plus not all the attempts at humor land well.Even so, most agree that once the action starts, the film delivers what fans want—tense build-ups and gruesome surprises.
Competing Titles, But Bloodlines Leads the Pack
Bloodlines opens during a busy time at the box office. Another Warner Bros. horror film, Sinners, directed by Ryan Coogler and starring Michael B. Jordan, is in its fifth weekend. It is expected to earn $15.4 million this weekend, down 30% from the previous week. So far, it has made $220.68 million domestically and $288.7 million globally. The film is also getting a limited return to IMAX 70mm at nine locations.
Meanwhile, Marvel’s Thunderbolts*—also known as The New Avengers—is expected to bring in $19 million in its third weekend. It has earned $130.39 million in the U.S. and $273.95 million worldwide. Despite being rebranded, the film has not gained much extra interest.
Another release this weekend is Hurry Up Tomorrow, a film by The Weeknd (Abel Tesfaye) and Jenna Ortega, directed by Trey Edward Shults. The movie is tied to The Weeknd’s After Hours Til Dawn tour, which starts in Glendale, Arizona, and is expected to be the highest-grossing tour in North America this year, with $400 million projected. The film had $1 million in fan screenings on Wednesday, but box office expectations are low, around mid- to high-single digits. Lionsgate is distributing the film, which was independently funded by Live Nation for $15 million.
Despite the competition, Final Destination: Bloodlines is expected to be the top film of the weekend. Its combination of franchise familiarity, new characters, and high-quality execution gives it a strong advantage.
