Gruesome deaths, tongue-in-cheek humour, and one last haunting turn from Tony Todd give this unexpected final chapter a shockingly fun farewell.
Okay, so what number is this? FD 14? 80? Final Destination 482?
Meh, who cares.
To be perfectly honest, I really wasn’t expecting much from this, so did it deliver? Drum roll… well, you’ll see.
The plot is: College student, Stefani, is plagued by the same super-violent nightmare night after night so investigates to find out what’s the deal. Then blah de blah, something, something about cheating death and it coming back to get you.
IRL SPOILER ALERT: Death catches up with everyone in the end.
Starring… well, I don’t know. Other than Tony Todd (in his final role before his passing) reprising his usual role, there’s no big ‘stars’… unless you count the Maya Hawke lookalike. This obviously makes the cast extra-expendable when they meet their bloody end. And boy oh boy, did they not scrimp on the blood and gore!!!
Every death is gratuitously gore-rific. The audience at the screening, the sick puppies they were, erupted in absolute fits of laughter every time one of the characters was killed.
Again, sick puppies… myself included of course.
But that’s it too. It most definitely plays for laughs. The writers are comedy and/or horror specialists. Between them they are responsible for: “Abigail”, “Ready or Not”, “Spider-Man: Homecoming” to name but a few. And they’ve had a great deal of fun with the script for this.
The Prognosis:
For me, “Final Destination: Bloodlines” was a great surprise. The makers have promised this is the final chapter of the long-exhausted franchise but hooly dooly, what a way to go out.
Now let the franchise die and head to its final destination.
The turn of the millennium was a defining moment for horror, giving rise to new trends and innovative storytelling. Among them, Final Destination (2000) arrived with a fresh, terrifying concept—one that not only played with the supernatural but also turned everyday life into a potential death trap. Directed by James Wong and co-written with longtime X-Files collaborator Glen Morgan, the film turned the slasher genre on its head by removing the traditional masked killer and replacing it with something far more sinister: Death itself.
What sets Final Destination apart is its antagonist—or rather, the lack of one. Death is an omnipresent force, stalking those who were never meant to survive. Unlike slashers where the villain can be outrun or outwitted, Death is patient, meticulous, and utterly inevitable. The film introduces the concept of “Death’s Design,” a predestined pattern that, once disrupted, seeks to correct itself. The brilliance of this idea lies in its execution: every near-miss, every subtle hint, and every Rube Goldberg-like demise adds to the sense of unease, making audiences hyper-aware of their surroundings.
One of the most memorable elements of Final Destination is the brief yet powerful appearance of Tony Todd as Bludworth, a mortician who seems to know far more than he lets on. His eerie demeanour and cryptic warnings serve as a grim reminder that Death is not something to be played with. Todd’s performance elevates the film, adding a sense of mythos and foreboding that lingers long after his character exits the screen.
Much of Final Destination’s effectiveness comes from its strong cast, led by Devon Sawa as the reluctant psychic Alex Browning. Sawa brings a raw intensity to the role, capturing the paranoia and helplessness of someone who can see what’s coming but can’t fully prevent it. Ali Larter’s Clear Rivers provides a grounded, emotional counterbalance, while Kerr Smith’s jock-turned-survivor adds depth to what could have been a stock character. Seann William Scott, fresh off American Pie, plays against type as the vulnerable Billy, while Kristen Cloke’s panicked teacher gives the film one of its most unsettling sequences.
While some horror films rely on a knife-wielding maniac or grotesque monsters, Final Destination finds horror in the mundane. Death’s methods are elaborate, with each kill playing out like a meticulously planned accident. The infamous bus scene, which arrives with no warning, remains one of the best jump scares in modern horror. The bathtub electrocution, the train decapitation, and the airport bathroom sequence—all highlight the film’s ability to make even the most ordinary moments feel like impending doom. The unpredictability keeps audiences on edge, reinforcing the film’s central theme: no one is safe.
One of the film’s most intriguing recurring motifs is the number 180. Flight 180 is the ill-fated plane that Alex and his classmates were meant to die on, but the number continues to appear throughout the movie in subtle and eerie ways. From license plates to clock readouts, the presence of “180” serves as a constant reminder that Death has not forgotten. It’s a clever detail that rewards attentive viewers and adds to the film’s underlying sense of inevitability.
Final Destination kickstarted a franchise that would spawn four sequels, each expanding on the concept of Death’s Design with increasingly elaborate and over-the-top kill sequences. While the later films often leaned into spectacle, the original remains the most grounded, effectively blending psychological tension with supernatural horror. More importantly, it left a lasting impact on horror cinema—introducing a new kind of fear that made people second-guess every seemingly harmless situation in their daily lives.
The Prognosis:
With its gripping concept, strong performances, and masterful execution of suspenseful set pieces, Final Destination remains one of the standout horror films of the early 2000s. It took the slasher formula and reinvented it, proving that horror doesn’t need a masked villain when fate itself is the enemy. Even after 24 years, the film still resonates, reminding us that no matter how hard we try, you can’t cheat Death.
The horror community has lost one of its most towering presences with the passing of Tony Todd, a beloved actor whose rich, resonant voice and formidable on-screen presence made him unforgettable. Known for his role as Candyman—the haunting figure who lured audiences into a story of terror, racial injustice, and folklore—Todd’s portrayal captured a timeless menace and a tragic allure that few others could have achieved. His work across film, television, and stage influenced generations, earning him a reputation as one of horror’s most enduring icons.
Born in Washington, D.C., Todd trained at the Eugene O’Neill National Theatre Institute, honing the craft that would make his performances powerful and deeply felt. Though he appeared in a wide range of genres, his lasting impact lies in the horror world. His breakthrough role in Night of the Living Dead (1990) positioned him as a new face in horror, but it was Candyman in 1992 that immortalized him. Directed by Bernard Rose and based on a story by Clive Barker, Candyman intertwined urban legend with societal themes, giving Todd a platform to bring depth to a character as sympathetic as he was terrifying.
Todd’s Candyman wasn’t merely a ghost story villain; he was a symbol of betrayal and vengeance, embodying the horrors of systemic injustices. His physical presence and chilling, honeyed voice gave Candyman a gravitas that turned what could have been a simple slasher film into a commentary on the cyclical nature of violence and despair. The hook-handed specter went on to haunt audiences for decades, and Todd reprised the role in sequels, keeping Candyman’s legend alive.
Beyond Candyman, Todd’s talents continued to bring richness to horror through roles in the Final Destination series, Hatchet, and countless other features. His versatility was evident in every role he played, from supernatural harbingers to resilient survivors, imbuing each character with a weight and intensity that horror fans revered. Todd’s impact also extended into television, with memorable appearances in shows like The X-Files, 24, and Star Trek, showcasing his range and enduring appeal across genres.
Tony Todd’s legacy is more than his roles; it is the dedication he showed to his craft and the connection he fostered with fans. He was a frequent presence at horror conventions, meeting admirers with genuine warmth and appreciation. His influence on horror has left an indelible mark, as has his kindness and humility in life.
As we mourn the passing of Tony Todd, we remember him not just as the boogeyman of our nightmares, but as a gifted actor and a cherished figure whose spirit will forever echo in the halls of horror. His voice, deep and unyielding, will always haunt the genre he helped define.
It’s been with much anticipation that I’ve been waiting for a return trip to Cabrini-Green and one that doesn’t sour the original feature directed by Bernard Rose based on the Novella by Clive Barker was released back in 1992. Where Freddy Krueger haunted my dreams and ignited my love of horror, Candyman pushed me deeper into the genre and I’ve been… (ahem) hooked on it ever since.
Just check out our thoughts on the original movie below:
From the creative mindset of Jordan Peele (Get Out, Us), Win Rosenfeld (The Twilight Zone), and Director Nia DaCosta (Crossing The Line) we are presented with a ‘spiritual’ sequel. It’s clear from the get-go that this film won’t exactly walk the same route as its predecessor with the inverted shots of skyscrapers shot from beneath, looking up to a foggy skyline, in juxtaposition to Bernard Rose’s helicopter shots over an expansive cityscape. While this latest offering trips over a little in bringing our central characters into the mythology surrounding Daniel Robataille, which may disappoint devotees, but those that are familiar with Peele’s work (myself included among them) will soon succumb to this interpretation. In effect, the key component that really makes the 2021 version a must-see movie, is that it takes the Barker/Rose vision one step further and gives ownership to the titular character to Black America and its history. Where the story behind Robitaille, Helen Lyle, and Cabrini-Green is the stuff of legend, it is one of many that has embedded itself in America’s racial divide. With each passing generation, the scars have been etched over the years and with every Daniel Robataille, there’s a Sherman Fields. The physical and mental weight has taken its toll and is ripe for the Candyman to return and leave a path of bloody retribution.
Where DaCosta casts the narrative this time around we follow struggling artist Anthony McCoy (Yahya Abdul-Mateen II – Us, Aquaman), a name that may be familiar to some. In order to reawaken his artistic expression, McCoy discovers the true story behind Candyman and in doing so, rekindles the horrors that lurk just beneath the surface. Just as it seeps out of the woodwork of Cabrini-Green and out of the mirror, Candyman breathes new life and old fears into the neighbourhood whilst affecting the souls of those closest to his awakening.
The Diagnosis:
All the cast deserve high praise, standing alongside Abdul-Mateen II is Teyonah Parris as his partner, Brianna; Nathan Stewart-Jarrett as her brother, Troy; Colman Domingo (Fear the Walking Dead) as the keeper of the legend, William Burke; and Vanessa Williams reprising her role of Anne-Marie.
It is the myth that really shines through here though and the artistic expression from a bold and creative team to take it in a direction that is not only a powerful commentary on the state of our times, but an important one. It’s not perfect, but it’s as near as and earmarks a new chapter in the Candyman legend; one that may herald more stories to come. Heaven knows the dark chapter of American history has a lot to explore and a perfect avenue for Candyman to continue to spread fear and devastation, if you dare to say his name and expose the truth.
When released in the States back in
September 2018, Hell Fest crashed out
to a poor box office despite what promised to be a great premise with something
that was reminiscent of Tobe Hooper’s The
Funhouse, (a forgotten gem) albeit with a more distinctive teen-slasher
vibe in this instance.
There is a phrase that ‘Monsters don’t
always lurk in the shadows, sometimes they hide in plain sight’, and what
better way to hide and stalk your prey than in a nightmare entertainment theme
park, built to scare and delight its customers.
As the teens enter The Dead Lands, an area
of the theme park where the workers are allowed to physically touch you in
their attempts to up the scare ante, a masked figure known as ‘The Other’
begins to circle and focus on his prey and inevitably picks them off one by
one.
Hell
Fest contains all the hallmarks of what should be a
fun ride which it is including some brutal kills that have you grimacing in
your seat, so why did it bomb and not resonate with its cinema going audience?
Most critics citied its lack of originality
and that it fell to formulaic tropes within the genre with most of the
characters presented as two-dimensional representations of what most horror
fans have seen before. Although I did find Bex Taylor-Klaus’ performance of the
wayward and rebellious Taylor, fun to watch.
I do find it hard to defend Hell Fest
though, as it does appear to tread old ground and you never really feel
connected to the characters. It’s a shame because director Gregory Plotkin’s (Paranormal Activity: Ghost Dimension)
sophomore outing has a great playing field to draw out the horror and offer
some unique approaches to the genre, but fails to deliver.
The Diagnosis:
Whilst Hell Fest is a fun ride, the ride itself becomes all too familiar all too quickly and the thrills whimper out with barely a flicker on the scare-ometer. And hey, it was awesome to see Tony Todd on screen as the theme park’s barker, despite his screen time being way too small.
When Gunnar Hansen of Texas Chain Saw Massacre fame wrote and pitched a who’s who of horror films pitted in a hellish place forming a macabre version of The Expendables, it would be a genre fans’ wet dream. The very idea of Jason aka Kane Hodder sharing the same screen as Tony Todd (Candyman), and Bill Moseley (The Devil’s Rejects) along with the queens of horror, Dee Wallace and Barbara Crampton (Re-Animator) would leave them salivating at the prospect at what could be an Uber-scare factory. What we do get is a lot of piss and wind in a lacklustre affair that never measures up to its promise.
Before I start lambasting this film though, I do want to focus on the positives. The very premise of staging a prison break containing some of the most vicious criminals known to mankind housed in a state of the art vicinity, which placates to the criminals whims in virtual space whilst using real victims from the homeless and deprived smacks of genius. It projects a utopian world that humanity could easily travel down if there were no morals or guiding principles attached.
Kane Hodder delivers to a tee and never falters from his iconic presence in front of the camera as the lead antagonist Sieg as he steers those fallen from grace further down into the pit of the jail system – level nine, a place where the five evils preside in a nod to Dante’s Inferno.
Equally Dee Wallace proves once again that she can offer intelligence, vulnerability, and apathy in her character, Dr. Eileen Fletcher and is always a welcome presence on screen.
And full props to Director Harrison Smith who saw fit to carry out Hansen’s vision in his honour, gifting him also with an on-screen presence in holographic form as the father to one of the prison inmates, Leatherlace, which was a nice touch.
And lets not forget those delectable sultry tones from Adrienne Barbeau as the narrator of the movie…
Sorry. Where was I?
Ah yes, all these elements are enough to keep you engaged, at least for a while. Even the strange dark arts that are heavily present throughout adds a decent hook to an intriguing narrative, but those who delve into Death House may find it a struggle as the further down the rabbit hole we go, the more far-fetched and ridiculous the concept goes.
And that’s where it starts to lose me. It doesn’t help that our two lead protagonists, Agents Novak and Boon who are so two-dimensional that not even their strange deep and meaningful conversation about how they became Agents whilst casually sharing a unisex shower cubicle can generate even a twinkle of interest… well, maybe. Which is a shame, because you want to be vested in their journey, but you really don’t care.
The Diagnosis:
This is clearly an attempt to ignite the passion that fans of horror through the 80’s and early 90’s by grouping some favourites of the genre together. Whilst the premise did provide a decent hook, the journey leaves you floundering and left adrift without much care to its conclusion. A lost opportunity.
Michael Myers, Jason Voorhees, and Freddy Kreuger.
All names that have made their mark in the horror movie industry and beyond, such was the impact that these characters had in arguably the golden era of the genre.
Since then, filmmakers have struggled to emulate the success and somehow fallen short. The Scream franchise took the genre and gave it a new twist, but this only led to filmmakers trying to repeat this success too and as such we got the torrid I Know What You Did Last Summer as a result.
Now, when you throw the name Victor Crowley into the ring, few people will know you you are referring to, and yet due to director Adam Green’s passion we have now seen 4 feature films based around this grotesque creature, hell-bent on vengeance and bloody mayhem on the Bayou.
It’s attracted staple actors of the horror genre such as Robert Englund, Tony Todd, Danielle Harris, and notably Kane Hodder, who took on the role of Victor for the Hatchet film series.
It is however, the latest instalment that has seen the character’s name take centre stage, thrusting him into the limelight once more and in effect serving as something of a re-boot to the series.
So, why is it then, that the franchise has slipped under the radar?
Well, with closer scrutiny of Victor Crowley, you could understand why, because on face value, it appears to be an example of painful characters, and poor performances. However, as the story unfolds, and the deeper into the swamp we submerge ourselves into, the more the dialogue starts to build in strength and the wit rises to the surface with abundance.
Sure, the characters are incredibly two dimensional, but that only allows their demise when it comes to be sweet. Oh, so sweet.
Speaking of demise, the deaths in Victor Crowley are brutal and savage with enough blood and guts, and gory detail that you’ll laugh, squirm and delight with each gut wrenching kill.
The Diagnosis:
Never judge a book by its cover. It may take a while to warm to but let yourself be taken over by this feature and you’ll be pleasantly surprised.
It’s balls-to-the-wall fun and churns along with a bloody glorious rampage.
Watch it and make Victor Crowley the horror household name that it deserves to be.
Surgeons of Horror 