Cast: Dylan O’Brien, Ki Hong Lee, and Kaya Scodelario
Director: Wes Ball
137 minutes (12) 2018
20th Century Fox
DVD Region 2
Review by Christopher Geary
A free-range Cube? Lord Of The Flies meets the Predator franchise? Wes Ball’s The Maze Runner (2014), posits a novelty secret mission for new-kid-on-the-block, the amnesiac Thomas (Dylan O’Brien, TV series Teen Wolf), who’s freight-lifted up into a walled glade where an odd assortment of boys survive in this exclusive prison as modern Tarzan and Robinson Crusoe recruits for a bizarre Spartan programme, while living in social fear of giant cyber-spiders that lurk just beyond their secure garden’s perimeter. Even with its rather simplistic narrative rules, this brisk adaptation of James Dashner’s YA novel still takes young hero Thomas half an hour to get his Theseus on, and slay the metaphorical minotaur in this pseudo-labyrinth. Of course, everything changes for the boys’ hormonal captivity when the first-and-last girl arrives.
|Maze Runner: The Scorch Trials|
After Patricia Clarkson’s mastermind delivers her video testimony packed with mega-plot exposition, the sequel picks up right from where Maze Runner left off, and Scorch Trials intensifies the melodrama, of various teenage rebel heroes versus corporate villainy, with some increasingly sinister experiments. Thomas rescues Teresa (Kaya Scodelario) from a WCKD hi-tech med-lab where Janson (Aiden Gillen) runs a top security orphanage for the ‘lost boys’. The lads promptly escape from a lock-up style detention centre into the post-apocalypse desert that’s plagued by midnight lightning storms, some captured zombies, and even free but nightmarish un-dead like writhing mutant creatures from hell.
“Do you ever get the feeling the whole world’s against you?” sums up typical adolescent mentalities that are a guiding principle of this wholly perilous gamer scenario. New temp heroine Brenda (Rosa Salazar) is repeatedly endangered just so that the faithful Thomas leaps into action, but he fails to save her from the probably infectious bites, or a drunken house party. Shouting, gasping, frantic chases, and casually repetitive yet monstrously tense confrontations continue, until a betrayal and the shoot ‘em-up fighting in a desert camp settles a few scores.
There was a year’s delay in production, after the star was injured on a movie set in 2016, before this adventure trilogy concludes with Maze Runner: The Death Cure, where the heroic Thomas follows-up his proverbial ‘good speech’ from the climactic action of Scorch Trials by leading a Mad Max styled raid on a WCKD corporation train to free one carriage-load of prisoners. Later, breaking into the enemy’s sprawling walled-city of an ultimate enclave proves to be a rather more troublesome feat of daring for the young heroes.
From the first movie’s glade, Gally (Will Poulter, Son Of Rambow) returns and he grants Thomas an opportunity to unite the various gangs of survivalists to sneak through tunnels into the wicked WCKD city and rescue their captured friend Minho (Ki Hong Lee). However, the boys start off wrongly by kidnapping their apparent opponent Teresa. The Death Cure offers fairly standard action movie thrills and chills about the resistance to a totalitarian regime that turns into a “you guys are nuts” rebellion, a movement that’s partly dictated by the anarchist revolutionary fervour of grotesquely scar-faced Lawrence (Walton Goggins, TV series Justified) who helps greatly to drive the main plot forward. In the end, this movie trilogy really concerns the little people that twin capitalist menaces of big money and corporate greed always exploits and then forgets about.
Hijacked as a getaway vehicle, a bus is hoisted skyward by a giant construction crane to provide unsubtle spectacle and a fresh perspective, amidst vigorous urban pursuits and street-level shoot-outs. It’s surprisingly effective as a standout combination of stunts and special effects. The director Wes Ball went from making short films to blockbuster movie production in one ambitious leap. His competence at orchestrating grand effects scenes is never in doubt, but he tends to lack something vital when it comes to getting strong and compelling performances from a predominantly young cast in leading roles. Death Cure is too frequently melodramatic for any sense of realism or actorly conviction, as every twist and tragedy gets hammered home with tearful mistakes and regrets. Often, these heroes kill to learn the truth and then want to kill again because of new knowledge, too. Juvenile love, nowadays, seems unfortunately to be about the end of the world.
In retrospect, The Maze Runner trilogy is particularly worthwhile because Ball insists upon taking all of its gross absurdities seriously. There’s no escape mechanism of humour, with jokey asides and comic relief, to break from a constant mood of sinister sci-fi and rousing action sequences. In many ways, the casual genre references of The Death Cure, ranging from Aliens to Titanic (hmm, I wonder if Ball is big fan of James Cameron’s movies?) help to make certain its explosive finale is both spectacular and suspenseful.