Bloodlines' is good, thanks to God's death

It has passed for 14 years since the last End goal Film, but Final goal: blood lines Fits exactly into the aesthetic and wonderfully ridiculous sensitivity of the early 2000s in the series. This was probably expected because a new entry in this franchise did not jump through too many illogical tires or an outdated imagination is reinvented. Death is the ultimate horror rapid; It cannot be killed or identified or (as these films prove again and again) can be defeated. In contrast to other horror restarts, Blood lines (This is the sixth entry in the series) does not have to come up with for stupid reasons why a dead masked butcher or previously convicted demon came back. That makes these films something special. Death has never disappeared. He is waiting for you and me while we speak. And he almost ends all of these pictures.

If we mainly assess these films based on the creativity and the detailed absurdity of their death scenes, this latest entry expands the pate without dealing with the formula. The structural novelty of A End goal Rate is that the first kill is always the most spectacular. Previously, we had a catastrophic racetrack fire, a gnarled roller coaster accident, a terrible plane crash, a massive bridge collapse and of course the greatest frequency of highway in film history. This time we have the courageous destruction of a Tony restaurant called Skyview, high on an observation tower in the space style. The time is at the end of the 1960s, and a young woman named Iris (BREC Bassinger) is proposed by her friend. But it is surrounded by threatening signs. Are you real omen or just your 60s square fear? A chic elevator does not seem to be particularly stable. Table chefs Blithly Flambé dishes; Iris stabs her finger on a roson; A piece breaks off an unsteady crystal chandelier; A loud band inspires a crowded glass dance area to stamp in accordance with the cover of the “Shout” of the Isley Brothers. A child's play nose child throws Pennies from the 499-foot tower. All of these elements will play their ingenious parts in the inevitable phantasmagorie of the slaughter.

In true End goal However, the tradition is often imaginary. We experience it as a nightmare that the heroine of the film, student Stefani Reyes (Kaitlyn Santa Juana), was plagued by the College student. Stefani examined why she sees this terrible dream vision again and again and discovers that Iris was her long lost grandmother and that she prevented this disaster during the day thanks to her preliminary ones. Over the years, however, death for the many people who had saved Iris came, everything in the order in which they were originally supposed to die – together with their families, who should not exist in many cases. Now Stefani realizes that her own family members – including her grumpy youth brother Charlie (Teo Briones), and her cousins ​​Erik (Richard Harmon), Julia (Anna Lore) and Bobby (Owen Patrick Joyner) – next.

This is just a good thing as any other, and the directors Zach Lipovsky and Adam Stein (who work from a script by Guy Bussick and Lori Evans Taylor) have fascinating new settings, devices and premises for the traditional Rabe Goldbergian of the film. End goal Standby) The family cookout went terribly wrong. Most horror flicks set their characters in one place or put them in a unique, tense situation (remember: Satanian possession or annoy the wrong truck driver, pull the wrong person to etc.), but in End goalDeath works with the great secular canvas of ordinary life. In these films, if you just go on your day – drive on the highway, repair a drink with a machine, make gymnastics – congratulations, you are the ideal victim.

There is a nostalgic thrill to watch Blood lines Revive the familiar rhythms of A End goal kill. Everyday objects fulfill a graceful threat, while the film brings them to play their parts in the dance of fate: a glass shadd ends up in a stack of crushed ice and becomes almost invisible immediately; A beer bottle is precarious at the edge of a table; The fabric on a trampoline slowly begins to tear, while a modest rake is patiently waiting. A cone is accidentally switched on and a wrapped garden hose moves to life, newly thick with water. How exactly will all of these elements be sealed, one of our heroes too happy? Here the anticipation and the surprise comes into play. The chaos also varies tonal: an extremely sophisticated scene (shockingly) leads to the intended victim that is casual. The big climax is quiet sauce, unfortunately, but these are always a challenge because so much energy is spent to inspire us with previous kills.

As expected, there is information here and there about the franchise. A few close calls cause iconic sequences, including a cruel closure of the highpoint of the series. Final goal 2. A visibly sick Tony Todd (who died last year) returns as a creepy master William Bloodworth, whose typical gnomic and threatening ruminant about the design of death here are mixed with improvised words from our own heart of the actor, to appreciate the time that we appreciate, and to have life in full-a huge fourth wall that is in a long fan Moving films into a long fan of these films. New arrivals, on the other hand, could ask where the sudden sincerity comes from.

Apart from Stefani, the people in Blood lines Do not do much except to be killed in a stupid and unlikely manner. This may be expected. But in the best case, End goal Films bring together a variety of characters from different areas of life to argue, fight, plan, work together and die. This is because the universality of the vision of this series speaks for both the disaster and the cavalier, which ultimately makes the films so cathartic.

Blood lines Is a welcome revival of a great film series that was often smarter than other fear-resistant, but it is hoped that this new entry had a more actual character development, more recent. The recent enthusiasm for the restart of every horror franchise on earth has too much paper-thin human rumble for the blood-soaked genre mill. Horrors as variations of “Slasher” but these types of films if they feel at least a little for their characters. This is not necessarily an argument for cheap feeling. Both serious spectators and splatter-trunk genre-Unholde can be enthusiastic about the death of characters to which some shades have been preserved. The more we are with the people on the screen, the more we are invested in what happens to them. Because in the end they are all just for ourselves. Blood lines gives us a lot of what we want from a new one End goal Film, but it could have given us a little more.