So for the core crowd (millennial and below) it should add up to a satisfyingly sustained, uncomplicated adrenaline jag. Ball is a sure-handed set-piece orchestrator and has a good ear for whams and bangs, which here variously involve trains, cranes and automobiles. The moral wrangling doesn’t get more complex than that, and takes a back seat to the action, which maintains a zippy momentum throughout the over-generous 142-minute running time. For Thomas, freedom – from human lab-rat torture, mostly – is paramount. For Teresa, the end (saving humanity from a killer virus) justifies the means (torturing virus-immune children to extract serum). Dylan OBrien, Giancarlo Esposito, and Rosa Salazar in The Maze Runner: Death Cure (Fox). To save their friends, they must break into the legendary Last City, a WCKD-controlled labyrinth that may turn out to be the deadliest maze of all. Having survived robot-spider-things and raging zombies, the earnest Thomas and his fresh-faced compadres are on a mission to rescue their one-time maze-running bro, Minho (Ki Hong Lee), having lost him to shady white-coat corporation WCKD following a devastating act of betrayal by Thomas’s kinda-girlfriend Teresa (Kaya Scodelario). Thomas leads his group of escaped Gladers on their final and most dangerous mission yet. It is the sequel to the 2015 film Maze Runner: The Scorch Trials and the third and final installment in the Maze Runner film series. Nowlin, based on the novel The Death Cure written by James Dashner. ‘I know it’s hard, but act like you’ve seen it before,’ one character says to gawping young hero Thomas (Dylan O’Brien) on arrival. Thomas leads his group of escaped Gladers on their final and most dangerous mission yet. Maze Runner: The Death Cure (also known simply as The Death Cure) is a 2018 American dystopian science fiction film directed by Wes Ball and written by T.S. So where last instalment ‘The Scorch Trials’ took us out of the monster-stalked labyrinth into a parched, depopulated ‘Mad Max’-meets-‘I Am Legend’ wasteland, ‘The Death Cure’ draws us into a skyscraper-packed, ‘Blade Runner’-ish metropolis. That's an ongoing theme of this installment, which does feature some thrills and nail-biting confrontations but is ultimately about a group of young men (girls and women are scarce in this series) who learn to trust, protect, and defend one another against villains who sought to use and destroy them.Somewhere between the beloved, blockbusting ‘Hunger Games’ and the fizzled-out ‘Divergent’ franchise, Young Adult dystopia has found its uncomfortable middle ground in director Wes Ball’s ‘Maze Runner’ trilogy.Īdapted from James Dashner’s novel, this weighty third chapter continues the series’s concerted journey away from the intensely contained, high-concept action-puzzle milieu of 2014’s ‘The Maze Runner’ into less interesting, more familiar genre territory. Scodelario's conflicted Teresa pleads her case to Thomas, who's willing to donate blood if it means saving the infested.
The world-building isn't as strong here as in, say, The Hunger Games, but it does have a clearer premise than the later Divergent films: The immune just need to get away from WCKD's experimenting and start over together.Ī couple of twists and turns reunite the Gladers with kids they thought they'd never see again, and characters must make difficult life-or-death choices. In this case, our hero is a boring teen played by Dylan O. The stakes in this one are high, but for Thomas and his buddies, it all boils down to saving Minho. Patricia Clarkson and Kaya Scodelario in Maze Runner: The Death Cure (2018) image for this review courtesy of Twentieth Century Fox.
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