New Line Cinema and Warner Bros. Home Entertainment are bringing “Final Destination: Bloodlines” to home video. “Bloodlines” is the sixth installment in the Final Destination feature film series and one of the bigger surprises of the 2025 movie year. The film made over $285 million at the box office against a $50 million budget and was well received by franchise fans and critics. It also features the final big screen appearance by the late, great Tony Todd. You can read my full review of the film HERE.
This 4K edition of “Final Destination: Bloodlines” includes a digital copy and a number of fun special features. It will be available to purchase on July 22nd. See below for a full synopsis of the film as well as release information and a list of special features.
About the Film:
Year: 2025
Runtime: 110 Minutes
Director: Zach Lipovsky & Adam Stein
Screenwriter: Guy Busick & Lori Evans Taylor
Cast: Kaitlyn Santa Juana, Teo Briones, Richard Harmon, Owen Patrick Joyner, Anna Lore, Rya Kihlstedt, with Brec Bassinger, and Tony Todd
Rating: R for strong violent/grisly accidents and language
Plagued by a violent recurring nightmare, college student Stefani heads home to track down the one person who might be able to break the cycle – her grandmother, Iris – and save her family from the grisly demise that inevitably awaits them all.
“Final Destination Bloodlines,” the newest chapter in New Line Cinema’s bloody successful franchise which takes audiences back to the very beginning of Death’s twisted sense of justice, debuts Digitally at home on June 17.
From New Line Cinema and Warner Bros. Pictures, the film is directed by Adam Stein & Zach Lipovsky. The screenplay is by Guy Busick & Lori Evans Taylor, and the story is by Jon Watts and Guy Busick & Lori Evans Taylor. It is based on characters created by Jeffrey Reddick.
Special Features:
“Final Destination Bloodlines” Digital, 4K UHD and Blu-ray contain the following special features:
Death Becomes Them: On the Set of “Final Destination Bloodlines” – featurette
Catch up with the fresh new cast and dynamic directing duo of “Final Destinations Bloodlines” to hear about their experiences on set and what fun surprises they managed to sneak in for the fans.
The Many Deaths of Bloodlines – featurette
From the collapse of the Skyview Restaurant to the world’s worst MRI, get a behind-the-scenes glimpse of the most gruesome Final Destination deaths yet!
The Legacy of Bludworth – featurette
Tony Todd reflects on the decades-spanning legacy of his iconic character and re-examines Bludworth’s impact on the franchise now that all has been revealed.
Director’s Commentary
Commentary by the film’s directors Adam Stein & Zach Lipovsky
Ari Aster’s short but attention-getting feature film career has been a fascinating rollercoaster. It began with a bang with his exceptional 2018 supernatural/psychological horror gem “Hereditary”. He followed it up with 2019’s “Midsommar” – a movie with a first half that is every bit as brilliant as his debut film and an unfortunate second half that goes completely off the rails. Things only got worse with 2023’s disastrous “Beau Is Afraid”.
Now Aster is back with his fourth film and with it we see his career pendulum swinging back mightily the other way. Aster takes a bold and provocative swing with “Eddington”, shrewdly straddling the line between satirical black comedy and a Neo-Western thriller. His story is set in 2020 during the early days of the COVID-19 pandemic. He takes an unvarnished look at the heightened paranoia and anxieties that swept through communities while spotlighting the political opportunism and obstinance that only made things more complicated.
Adding to the already tumultuous landscape were the growing tensions following the killing of George Floyd. Impassioned protests swept across the country. But several were overthrown by aggressive rioters, sometimes prompted by well-funded outside agitators eager to plunge the country into violence. Aster’s willingness to take on such fresh wounds speaks to his audacity. But what’s amazing is how well he pulls this crazy thing off.
Image Courtesy of A24
While some may try hard to put “Eddington” in their political corner, the film openly fillets the political left, right, and most everyone in between. It should be stated that Aster isn’t fence-straddling. He offers frank and truthful observations through a fable that is as thematically chaotic as the times it represents (and fittingly so). Most will remember the events with alarming clarity which may make this a difficult watch. Yet Aster mines so many darkly funny moments out of the pointed, pathetic, and preposterous scenes that unfold before us.
The story plays out in Eddington, a small dried-up New Mexico town with a population of 2,435. It’s where we meet Sheriff Joe Cross (an exceptionally pitiful Joaquin Phoenix), a by-the-books rural conservative who keeps the law in his quiet town with the help of his two deputies, Guy (Luke Grimes) and Michael (Michael Ward). The only thing more frustrating to Joe than mask mandates and government imposed lockdowns is his live-in mother-in-law, Dawn (Deirdre O’Connell) who rarely misses a chance to scrutinize how he handles his dissociative wife Louise (an underused Emma Stone).
Joe doesn’t see the coronavirus or the growing unrest as Eddington problems. This puts him at odds with Ted Garcia (Pedro Pascal), Eddington’s incumbent mayor who is up for reelection. Ted stands for nearly everything Joe is against. He’s a good-looking and good-talking politician who is intent on protecting his political career by staying on his liberal governor’s good side. That means imposing and enforcing mandates and policies that don’t always apply to him. Far shadier is his involvement in a massive AI data center set to be constructed on Native American land outside of Eddington.
Image Courtesy of A24
As the tensions fester between Joe and Ted, a small but growing BLM-inspired protest breaks out on Main Street. They’re spearheaded by the impressionable Sarah (Amélie Hoeferle) whose verbiage and sloganizing sounds plucked from TikTok videos rather than out of organic conviction. She’s supported by Brian (Cameron Mann) who is more smitten with her than their cause. Joe is ill-equipped to either control the crowd or empathize with their cause which only makes things worse.
Aster throws in so many other things, all ripe for critique. Conspiracy theories, misinformation, social media dependency, cult leaders (a shaggy but captivating Austin Butler is a brief delight), white middle-class radicalism, etc. With so much laid out, the budding question became how would Aster wrangle it all together? The answer – with an insanely violent Tarantino flavored exclamation point at the end. It’s a wildly entertaining finish that speaks to where our intensifying divisions could eventually lead us.
“Eddington” feels like a movie some will need to wrestle with, not just for days but perhaps years. It’s a feature that demands a level of honesty and introspection. Those unwilling will likely contort the movie to fit their political dogmas or simply dismiss it altogether. But those willing to look deeper will find a well-conceived and well-crafted satire that is both ruthlessly funny and daringly insightful. Top it off with a terrific cast (none better than Phoenix), and you have Aster’s best film since his stellar debut. “Eddington” is in theaters now.
Riding hot on the heels of Wes Craven’s enormous box office hit “Scream”, director Jim Gillespie’s 1997 slasher “I Know What You Did Last Summer” pretty much followed the same path to success. It was made on a small budget, it featured a collection of fresh young faces, and it raked in a lot of money leading to one immediate sequel, one later direct-to-video sequel, a now a legacy sequel that follows the events from the second movie.
Originally based on a 1973 novel by Lois Duncan, “I Know What You Did Last Summer” pulls inspiration from an old urban legend of the Hookman. In the 1997 film, a group of teenage friends from Southport, North Carolina are terrorized by a hook-wielding killer one year after they covered up a car accident where they accidentally killed a man. Murder and mayhem ensued as the friends found themselves the target of a mysterious killer.
Image Courtesy of Columbia Pictures
The 2025 film (which follows that silly trend of using the same name as a previous installment) takes place 28 years after the Southport murders. Director Jennifer Kaytin Robinson, working from a script she co-wrote with Sam Lansky, basically follows the same blueprint as the first film, with a new group of friends and a couple of old familiar faces which fans will enjoy seeing despite them feeling shoehorned in.
Five not so interesting friends, Ava (Chase Sui Wonders), Danica (Madelyn Cline), Milo (Jonah Hauer-King), Teddy (Tyriq Withers), and Stevie (Sarah Pidgeon), drive up in the hills overlooking Southport for the best view of the town’s annual late-night Fourth of July fireworks show. As the group dumbly goofs around in the middle of the winding road, a truck is forced to swerve to miss them, plunging off the gorge to the rocks below.
Rather than help, the frightened group flee the scene. They later find out the driver was killed, but Teddy’s wealthy father (Billy Campbell) uses his influence with the cops to keep the kids from being implicated. The five friends take an oath to never mention what happened to anyone. But if you know anything about the original movie you know their secret comes back to haunt them.
One year later, Danica receives a mysterious note the reads “I know what you did last summer“. It forces the five startled friends back together where they quickly find themselves being stalked by a hook-wielding killer in a rain slicker. While the police aren’t much help, they find unexpected allies in Julie James (Jennifer Love Hewitt) and Ray Bronson (Freddie Prinze Jr.) – two original survivors of the 1997 murder spree.
Image Courtesy of Columbia Pictures
Robinson and Lansky try but have a tough time giving us anyone to root for. It’s no fault of the cast as everyone puts what they can into their mostly hollow characters. Even Hewitt and Prinze Jr. struggle to bring anything beyond nostalgia to their characters. The story does them no favors, predictably moving from point to point, relying on jump scares rather than real tension, and eventually falling apart with a desperate twist that is more eye-rolling than shocking.
That leaves us with the kills – something all good slashers lean on to some degree. Here they barely leave an impression and even the most die-hard slasher fan will have a tough time being impressed. It’s just another blemish on what is a mostly lifeless and painfully by-the-numbers snooze that has a difficult time justifying its own existence. We get glimpses of what the movie could have been, but sadly it’s only glimpses. “I Know What You Did Last Summer” opens in theaters today.
The drama surrounding DC’s first attempt at a cinematic superhero universe is well-documented and going over the ins and outs of its rise and fall would take forever. In a nutshell, DC was put in the hands of Zack Snyder who attempted to do something to distinguish DC from its well-established competition at Marvel. The results were pretty great, that is until Snyder had the keys taken away in an effort to mirror Marvel’s success rather than offer a contrast to it. From there things fell apart pretty quickly.
Now DC is trying again by bringing in Marvel and DC alum James Gunn to head an entire reboot of their properties. For many of us, Gunn wasn’t the most encouraging choice considering his previous swings at franchise superhero movies (“Guardians of the Galaxy”, “The Suicide Squad”) were team-based stories laced with heavy amounts of humor. How that would translate to running a full-scale cinematic universe would be anyone’s guess.
Image Courtesy of Warner Bros. Pictures
Gunn kicks off his tenure by writing and directing DC’s signature character, Superman. Once again, Gunn isn’t the first person I would expect to be handed the keys to the iconic Man of Steel. But as a fan of the character and DC overall, I went in hopeful for a movie that would do him justice and get the DC Universe off on the right foot. Unfortunately, “Superman” quickly turns into a frustrating and often baffling mix of missteps and shortcuts.
“Superman” is riddled with nagging issues that include an overstuffed story, underdeveloped characters, head-scratching plot contrivances, and some needless liberties with the lore that fail to have the impact intended. Even worse, at times the movie feels as if it’s made for fans of James Gunn rather than fans of Superman. From the overly jokey tone to cameos featuring several of his buddies, you can often see Gunn more focused on putting his stamp on the property than telling a great Superman story.
Gunn starts by bypassing the origin stuff which most of us know by heart. His story is set three years after Superman (David Corenswet) first revealed himself to Earth. Apparently his most amazing feats happened in that three-year window prior to the events of the movie. I say that because we don’t get to see any of them. Instead we spend most of the time watching Superman getting beaten to a pulp. In fact, the very first scene has him crashing down after being destroyed by a metahuman working for billionaire Lex Luthor (Nicholas Hoult).
Image Courtesy of Warner Bros. Pictures
Speaking of Lex, here Superman’s powerful archenemy is turned into an underwritten brat whose motives are murky at best and incoherent at worse. Lex is already in a position of enormous power and influence, although how he got there is all but avoided. What we do learn is that he’s an arms dealer, he may be involved in a budding war between two neighboring nations, and he has a petty (masked as maniacal) hatred for Superman. Lex somehow has massive pull within the United States government and he can somehow sway public opinion just by appearing on a corny talk show.
Of course a big part of Superman’s story involves his life as Clark Kent. He’s once again a reporter at the Daily Planet alongside Lois Lane (Rachel Brosnahan). The movie begins with the two already romantically involved and with Lois aware of Clark’s superhero identity. Sadly their relationship doesn’t go anywhere beyond what we’ve seen before. Meanwhile the Daily Planet crew features such familiar names as editor-in-chief Perry White (Wendell Pierce), the busty Cat Grant (Mikaela Hoover), and Jimmy Olsen (Skyler Gisondo) who’s shackled to one of the film’s weirdest and most underdeveloped angles.
Adding to the assembly line of characters are three super-powered metahumans, Guy Gardner AKA Green Lantern (Nathan Fillion), Mr. Terrific (Edi Gathegi), and Hawkgirl (Isabela Merced). Guy calls them the “Justice Gang” which becomes a running joke that quickly runs out of gas. Nothing about them as a team seems thought out past the comic bits Gunn squeezes out of them. Only Mr. Terrific gets any meaningful time to semi-develop.
Image Courtesy of Warner Bros. Pictures
There are several other problems that are at least worth mentioning. There are some wonky digital effects. Nearly all the stakes come across as manufactured rather than organic. There is a surprising lack of emotion throughout the movie. Ma and Pa Kent are thrown in for sentimental effect but are glaringly inconsequential. Most of humanity are inadvertently depicted as insanely dumb and gullible. Even Krypto the dog is fumbled. He should be a cheap and easy way to get reactions from the audience. But Gunn doesn’t know when to let off the gas, and the CGI dog’s cutesy comic relief gets a bit old.
It pains me to say, but James Gunn’s “Superman” misses nearly every mark it aims for. And there are A LOT of marks as Gunn spends most of his time throwing ideas onto the screen rather than having them make sense within a cohesive story. He even takes an ax to some long-established lore only to get nothing out of it. Meanwhile the performances are simply fine, with no one being either terrific or terrible. To be fair, it’s no fault of the cast. It’s the writing and direction that lets them down.
Going back to my comic book days, I’ve long been a bigger fan of DC than Marvel. So much so that even with my concerns, I was willing to receive a new Man of Steel with open arms. But “Superman” is a disappointing reinvention of an iconic character so many love. In fact, calling this iteration “SUPERman” seems incredibly generous. Gunn’s attempts at capturing the essence of the character while shaping a new Superman in his image will probably payoff at the box office. But it’s hardly the fitting reintroduction this DC Comics pillar deserves. “Superman” is in theaters now.
Warner Bros. Home Entertainment is bringing one of most acclaimed films of 2025 to home video. “Sinners” comes from Oscar-nominated writer-director Ryan Coogler and sees him once again re-teaming with star and friend Michael B. Jordan. “Sinners” is an expertly visualized and culturally rich Deep South horror movie set in 1930s Mississippi. Jordan plays two twin brothers who encounter a supernatural evil while trying to leave their criminal lives behind. Coogler’s story crumbles in the final act. But there’s so much to enjoy with the film and this killer home video release.
This 4K edition of “Sinners” includes a digital copy and an array of great special features. It will be available to purchase on July 8th. See below for a full synopsis of the film as well as release information and a list of special features.
About the Film:
Year: 2025
Runtime: 138 Minutes
Director: Ryan Coogler
Screenwriter: Ryan Coogler
Cast: Michael B. Jordan, Hailee Steinfeld, Miles Canton, Wunmi Mosaku, Jack O’Connell, Delroy Lindo, Jayme Lawson, Omar Miller, Rebecca Cho
Rating: R for strong bloody violence, sexual content, and language
From Ryan Coogler—director of “Black Panther”and “Creed”—and starring Michael B. Jordan comes a new vision of fear: “Sinners.”
Trying to leave their troubled lives behind, twin brothers (Jordan) return to their hometown to start again, only to discover that an even greater evil is waiting to welcome them back.
“You keep dancing with the devil, one day he’s gonna follow you home.”
Written and directed by Academy Award-nominated filmmaker Coogler, “Sinners” stars Jordan in a dual role, joined by Oscar nominee Hailee Steinfeld, Miles Caton, Jack O’Connell, Wunmi Mosaku, Jayme Lawson, Omar Miller, and Delroy Lindo.
Special Features:
“Sinners” Digital, 4K UHD and Blu-ray contain the following special features:
Dancing with the Devil: The Making of “Sinners” – featurette (32:35)
Journey with director Ryan Coogler as he makes his most personal and powerful film yet. Featuring Michael B. Jordan and an all-star cast, filmed on location in IMAX, “Sinners” is an original genre-bending experience unlike any other.
Thicker than Blood: Becoming the Smokestack Twins – featurette (10:45)
Michael B. Jordan and Ryan Coogler take us through the development, creation and portrayal of the Smokestack Twins, revealing how make-up, costumes, and visual effects come together to support these seamless performances.
Blues in the Night: The Music of “Sinners” – featurette (13:44)
Oscar-winning composer Ludwig Göransson explores the musical landscape of Sinners, including the iconic sounds of the Delta Blues, and the creation and recording of the unique and inspired performances written for the film.
Spirits in the Deep South – featurette (7:58)
Prof. Yvonne Chireau explores the backdrop of Hoodoo in the deep south and how its beliefs and traditions in spirituality, ancestors, the hereafter, and defense against evil inform the world and characters of “Sinners.”
The Wages of Sin: The Creature FX of “Sinners” – featurette (10:51)
Creature Makeup FX Designer Mike Fontaine reveals the secrets behind the supernatural horrors that terrorize the Juke, Ryan Coogler’s fresh take on vampires, and the various gore and blood effects used throughout the film.
Deleted Scenes (18:41)
Includes deleted and/or extended scenes for a more immersive experience.
It was 32 years ago that Steven Spielberg wowed audiences with his blockbuster mega-hit “Jurassic Park”. Since then it has been an interesting road for the Jurassic franchise. Spielberg returned to direct the sequel “The Lost World” but not the third film, “Jurassic Park III”. Both movies made money, but they didn’t reach the heights of the original. The series was relaunched in 2015 with “Jurassic World”, followed by two underwhelming but wildly profitable sequels.
Now the dinosaurs are back for a seventh time in “Jurassic World Rebirth”, a standalone sequel that follows “Dominion” while in many ways wisely distancing itself from it. Gareth Edwards was brought in to direct and David Koepp (the writer of the 1993 film) was hired to pen the script. The result is a story that tries a little too hard to follow Spielberg’s original recipe. Yet in the process it delivers an improvement over its most recent (and ultimately forgettable) predecessors.
“Rebirth” is slow out of the gate as it sets up its story and moves its characters into place. As humans and dinosaurs are still trying to co-exist, people have grown tired of their massive planet-mates. Many of the earth’s climates aren’t fit for the dinosaurs, leading the massive creatures to migrate towards the equator which causes all sorts of headaches around the globe.
Image Courtesy of Universal Pictures
As frustrated mankind focus on this problem, Martin Krebs (Rupert Friend), a noticeably slimy pharmaceutical rep, has his eyes fixated elsewhere. He and his company have developed a new miracle drug that has the potential to cure heart disease. They’ve yet to bring it to trial because they’re missing key blood samples. Those samples are from the three largest living dinosaurs which reside on an outlawed island in the Atlantic. Once he secures the samples Martin’s company can begin testing and then secure a patent which will be worth billions.
Martin approaches a former special ops soldier turned mercenary, Zora Bennett (Scarlett Johansson) with a lucrative offer to lead a team to the forbidden island. Accompanying them is Dr. Henry Loomis (Jonathan Bailey), a good-hearted but naive paleontologist who dreams of seeing living dinosaurs in their natural habitat. Zora charters a ship belonging to her old friend Duncan Kincaid (Mahershala Ali) who plots their course and leads the team to the island.
Elsewhere a father Reuben (Manuel Garcia-Rulfo), his daughters Teresa (Luna Blaise) and Isabella (Audrina Miranda ), and Teresa’s deadbeat boyfriend Xavier (David Iacono) are on an ill-advised sailing trip across the Atlantic when their boat capsizes after an encounter with a massive Mosasaurus. Zora and her team rescue the family, but not before the Mosasaurus run’s Duncan’s ship on shore of the forbidden island.
Image Courtesy of Universal Pictures
From there the movie splits the story into two tales of survival. After some rather obvious casualties, the survivors are forced into two groups – the frightened family trying to find their way to a village and Zora’s team who set out to complete their mission. Of course both groups encounter an array of prehistoric dangers, eye-popping wonders, and unexpected secrets. The story has a predictable trajectory, but it remains entertaining.
The movie works in large part due to the thrilling set pieces. It takes a while to get to them, but the big screen payoff is pretty satisfying. The dinosaurs look great and Edwards manages to create some pretty good tension. The characters don’t hold up as well. It’s not hard to root for the heroes and the villains are appropriately vile. But none feel fully fleshed out despite the strongly committed performances from the sizable cast.
“Jurassic World Rebirth” does its best to bring the series back to its roots and it mostly succeeds. And while it may rely a little too much on nostalgia, Edwards and company deliver the kind of big screen summer spectacle than fans will be drawn to. The early box office returns have been huge which equals a big win for Universal. It also all but assures another dino adventure in the not too distant future. “Jurassic World Rebirth” is in theaters now.
Keith & the Movies 