Final Destination 3

My favorite out of the FD series. With bimbos, jocks, emos, and skeezy, the characters are as two-dimensional as they should be and the death scenes are elaborate and hilarious!

“Final Destination 3” is the peak of the franchise’s formula—even if it’s admittedly recycled. If the first two films had already laid out the rules of the game—a premonition, a temporary escape from death, and a string of elaborate, ironic fatalities caused by an invisible force—this third entry takes that same mold and pulls it off with a level of energy, style, and charm that makes it stand out. James Wong, returning as director after helming the original, injects the movie with a sense of rhythm and visual flair that makes this one of the most memorable installments in the series, even without drastically changing the franchise’s DNA.

The plot sticks to the familiar setup: a looming disaster, a vision of it, a group of teens who narrowly escape, and then Death picking them off one by one through creatively brutal accidents. But “Final Destination 3” doesn’t try to reinvent the wheel—in fact, it leans into the repetition and uses it as a springboard to refine everything that already worked. The roller coaster sequence that opens the movie, set in a nighttime amusement park amid graduation chaos and teen screams, is directed with steadily building tension and jittery editing that knows exactly when to hold and when to hit hard. It’s arguably the most iconic set piece in the entire franchise—not just because of the graphic, claustrophobic disaster itself, but because of how the score lines up with the rising panic. Shirley Walker’s instrumental track that plays as the car climbs the tracks, with its creeping, suspenseful chords, is one of the film’s most atmospheric touches.

Mary Elizabeth Winstead delivers not just the best performance in the series, but also plays a character whose vulnerability and quick thinking make her more compelling than the usual horror-movie survivors. Wendy isn’t just another cookie-cutter final girl—there’s a real sense of humanity to her that makes it easier to root for her, even when the script takes shortcuts or repeats itself. The use of photographs as clues for the upcoming deaths is visually clever, even if it doesn’t make much sense in the broader “Final Destination” mythos—why would Death leave such obvious hints in the first place? But the truth is, the movie seems totally aware of its lack of internal logic, and instead of over-explaining its rules, it chooses to keep things moving fast and the danger always close. And honestly, it works.

The deaths, of course, are the main event. And here, the movie strikes a perfect balance between the grotesque, the darkly funny, and the genuinely nerve-wracking. The tanning salon scene—where Ashley (Chelan Simmons) and Ashlyn (Crystal Lowe) are literally roasted alive inside the machines meant to give them a light glow—is one of the franchise’s most twisted and unforgettable moments. The choice to play “Love Rollercoaster” during that scene is a stroke of sarcastic brilliance, turning the absurdity into a kind of morbid circus, reminding viewers that there’s a dark humor beating underneath all the carnage. Other deaths follow the same creative, messed-up tone: a head crushed by gym weights, a drive-thru explosion caused by an engine, and a long, uncomfortable nail-gun sequence that somehow manages to be both horrifying and sad. As over-the-top as they are, these kills still feel inventive and unpredictable—and in some cases, even tragic, because the characters are more likable than you’d expect, especially compared to the throwaways from the last film. There’s actual personality here: the deadpan sarcasm of Ian (Kris Lemche), the easygoing loyalty of Kevin (Ryan Merriman), the sharp-edged rebellion of Erin (Alexz Johnson). Tiny nuances, but they help.

Sure, the script has its conveniences, and the internal logic slips more than once. Some of Death’s “rules” seem to bend depending on what the plot needs, and while the third act is suspenseful, it throws in so many twists it starts to feel a little random. But the epilogue? That subway scene is cruel, wild, and totally unforgettable. With its frenzied editing and Wendy’s sheer terror written all over her face, the final moments leave the audience stuck somewhere between shock and dread. The ambiguous ending, bold as it is, reinforces the fatalistic vibe of the whole franchise—and even if it doesn’t answer much, it doesn’t really take away from the ride either. The film knows what the audience is here for, and it delivers: non-stop tension, stylish visuals, well-staged death scenes, and a lead who actually holds her own in the madness.

“Final Destination 3” might not expand the series’ mythology—and maybe it doesn’t care to—but it makes up for that with confident direction, sharp aesthetics, and a cast that never feels as disposable as the ones in other sequels. This is the point where the formula hits its best version: cruel, stylish, self-aware entertainment. And sure, the series has never really given satisfying answers to how its rules actually work, but here, that barely matters. When the ride is this intense, it’s easier to accept that sometimes, even the bloodiest fate can be a hell of a good time.

Not as good as the first two but still the deaths are a lot of fun. I've never ridden a roller coaster and this makes me never want to. That tanning bed scene is horrifying.

Wong once again hits a balance of sympathetic core characters and a cruelly over the top death. Winestead as Win is the best protag yet, really conveying an aching heart and a constant terror, with endearing dynamics with Kevin and her sister alike. Kevin has a surprising amount of character development as well. And with the rest of the ensemble there’s a good mix of jerks like the jock and nice teens just trying to live their lives, like the Ashlyns. It gives things just enough tragedy while making the deaths, the most spiteful and comedic yet, more fun than ever. It’s bordering on slapstick at times, and that needle drop in the credits? Delightful.

Ian is a fun concept providing a jolt of energy and menace while having motivation grounded in love and loss, punctuated by how he doesn’t quite do anything. How much is he just lashing out and how far would he go? And while the deaths are funny, the build up to them build up the tension very well and nails the paranoia these films ideally should give you. Death and danger are everywhere, and we just blindly ignore it. Accept it, even. It’s why the deaths as cruel as they get somehow always feel cathartic and even deserved, on a cosmic sense. We mock death every day and act like it’s no big deal, gladly taking every risk like a given, and it’s like we the audience intrinsically know on some level we’re asking for it as much as these characters. Thats the joke Death is playing. And it’s a good one.

I wouldn't put it as the worst, but I don't feel they tried to improve the plot....
good deaths...

Still shocked by how the deaths happened

I remember seeing this in the theater almost 20 years ago. How time flies.

It still holds up, in a sense this series is timeless. And this is the best entry in the series. The set-up is now matured, we know the drill, it doesn't need to be explained to us as an audience anymore (although the characters seem to be able to find information on the events of the previous movies quite easily).

What the 3rd one does best is the Rube Goldberg-ness of it. The deaths are quite creative, clear and don't require a lot of headwrapping. The set-ups for the accidental events that lead up to it are almost realistic. Most of the deaths could be prevented though, if the humans weren't so stupid and made sure everything was well kept and updated. Ah well, I enjoy it still.

Another solid one for the franchise. Same pattern. Same quality.

Surprisingly good, especially being that it’s the third. Gorier deaths, too.

Predictable but enjoyable. I think anyone who's seen 1 of the 2 previous movies can predict what will happen.

They seem to be getting out of control with the number of little ingredients that need to build up to the actual kill. Like in the warehouse, for example - like 25 things had to happen for the death to occur. So many questions for that warehouse scene: Wasn't the store closed? Why was it so dark in there? What the hell was Ian doing cutting random board for? Who pulled the trigger on the nailgun? Those things have triggers with protective guards - they just don't fire off 12 rounds on their own.

Anyway - still a fun movie. It's a good game to try to find the clues from the photos.

...On to the next one!