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The thing about zombies is that they’re extremely difficult to take down. To be sure, you shoot them in the head, and that’s supposed to be enough to get them to stop. In contrast, when they’re charging, grunting, and flailing at you in the manner of modern-day zombies, it can be difficult to concentrate and get a good shot. This is especially true when they’re coming at you from all directions across a desolate wasteland, as you’ll see in so many Young Adult novel adaptations.
Watching “Maze Runner: The Death Cure,” the third and final installment in the series based on James Dashner’s novels, gives the viewer a surreal experience. It just… won’t… come to an end. To be honest, it’s a bit overwhelming, for better or worse. There’s a coda, then another, and another, just when you think you’ve seen everything there is. Following a climactic build-up that signals our need to experience peak emotions and planned catharsis, there will be more loose ends to be tied up and more overly explanatory narration to endure before the film concludes.
I mean, I understand. It takes a long time to discover a cure for death. But, c’mon, come on.
For a while, Wes Ball’s film, on the other hand, moves extremely well. All three installments of the franchise have been directed by him, including 2014’s “The Maze Runner” and its 2015 sequel, “The Maze Runner: The Scorch Trials,” and what distinguishes his work from the glut of teen dystopian dramas on the market is his visceral sense of space and energy.
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This is especially true of Ball’s action sequences, which include a ten-minute car chase/train robbery across the desert that has the grit, intensity, and rough-hewn aesthetic of “Mad Max: Fury Road.” As has been the case in each of the “Maze Runner” films, particularly the first, the sound design is both powerful and immersive. The Glade, the Scorch, or any of the adjacent post-apocalyptic hellholes are places you would never want to visit, but Ball’s films give the impression that you’ve done exactly that in his films.
As a result of working from a script written by returning writer T.S. Nowlin, he drops us right into the action—there is no “Previously on “The Maze Runner… “—so if you’re unfamiliar with the setting or the characters, you might find yourself a little disoriented. Still, there isn’t any time to be concerned about it. In order to save their friends from the clutches of the bad guys at WCKD, our hero, the obligatory YA Chosen One, Thomas (Dylan O’Brien), and his crew must work together. (What else could they be called with such a cryptic acronym?)
Maze Runner The Death Cure Quiz
Maintaining control of the imposing Last City is the responsibility of a team of scientists led by the coolly minimalist Ava Paige (Patricia Clarkson) and a team of law enforcement agents led by the relentlessly evil Janson (Aidan Gillen). (Actually, that’s what it’s called; it’s true.) At the same time, they’re still rounding up all of the remaining children and conducting experiments on them to determine who is immune to the zombie plague and who might be able to provide a serum to cure this devastated world of the zombie plague.
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The man at the center, O’Brien, continues to be hardworking and uninterestingly handsome, but at least he has compelling figures surrounding him who will assist him in sneaking inside and destroying everything. A majority of the cast members are character actors with intriguing screen presences and captivating faces, such as Rosa Salazar, Giancarlo Esposito, Barry Pepper, Thomas Brodie-Sangster, Ki Hong Lee, and Dexter Darden, as well as a Walton Goggins who is almost unrecognizable. They are overqualified to be involved in this obnoxious nonsense.
But they also bring an effortless multiculturalism to these films that I’ve always admired, and they all get a chance to shine in their respective roles. In particular, strong female characters who play pivotal roles in the “Maze Runner” universe, from the villainous Clarkson to the virtuous Salazar to Kaya Scodelario as Thomas’ would-be love interest, whose internal conflict forces her to make difficult decisions somewhere in the middle, stand out.
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None of these characters or their stories, on the other hand, are nearly as compelling as the film’s numerous gonzo action sequences. Aside from the one that opens the film with a bang, there’s a thrilling one near the end that involves a crane, a bus, and a swarm of screaming children and is begging to be turned into a theme-park attraction. Massive shootouts, intricate hand-to-hand combat, and death-defying leaps—both physically and spiritually—are interspersed throughout the story.
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In the blur of teenage angst and annihilation that so many of these types of films provide, you may forget all about them, but they are entertaining while they are playing in your head. If only they didn’t last for such a long time.
For more personality quizzes check this: Blockers Quiz.
