So, here’s a thing: it’s already hard enough to get your ass up out to the theater to watch a movie you honestly don’t want to watch. Who wants to waste their time and money like that, right? It’s even more difficult when you’re in my previous position with Maze Runner: The Death Cure where I kept having to re-schedule the opportunities around my work and opportunities to see that movie do not come easily because it is 2 AND A MOTHERFUCKING HALF HOURS LONG, got damn. And yet, here I am having finally seen it and so very eager to get this franchise wrapped up that I started typing the moment I got home from the theater.
And I do have some words of praise to afford the filmmakers: first off, to actually seeing the franchise all the way to the end right at the cusp of when young adult dystopia material was reaching at its end, particularly in the wake of the Divergent series’ decision to give up. Several young adult franchises involved splitting the final book in their respective literary source series into two movies unnecessarily as has been the fad since Harry Potter‘s films and this is something Maze Runner did not choose to do, to my significant esteem. I suppose this decision may have been less spurred by narrative integrity than by the fact that as of the time Maze Runner: The Death Cure has been released, it has been a little under 2 years since The Divergent Series: Allegiant underperformed and a little over 2 years after The Hunger Games: Mockingjay – Part 2 underperformed, a death knell to the type of material The Maze Runner operates in. But that circumstance is also why the tenacity of the filmmakers impresses me almost as much as the fact that they have been financially rewarded for their faith. And particularly since it’s no big secret that gap of time was prolonged by the unfortunate injury of lead actor Dylan O’Brien during filming, at which point the studio decided to hold off until he could recuperate properly because nobody needs to die while making a movie.
OK, and now with all that young adult adaptation background that I am very ashamed to have at my disposal, I can actually praise Maze Runner: The Death Cure for something actually within the text of the film itself: not only is it better than its predecessors – a low bar to clear – it might possibly be a decent watchable movie. That claim requires many caveats: to begin with, you have to have watched the first two movies because there is no hand-holding flashback or recap opening the film and – welcome in the wake of the exposition vomit that made up the scripts of Maze Runner and Scorch Trials – most of the movie is spent in actual narrative momentum with a clear objective in mind. That objective being, after the final moments of Scorch Trials where the evil corporation WCKD who accidentally invented desert zombies (zombies that don’t really appear as much in Death Cure except within the bookends) kidnaps several friends of our hero Thomas (O’Brien), he and his team arranges to break into WCKD’s walled metropolitan safe haven to specifically save Minho (Ki Hong Lee). Specifically Minho. I mean, sure there’s other folks that they mean to rescue but they only wanna mention Minho.
OK, I’m going to admit at this point while I’m getting snarky that while I’m sure The Death Cure pays off significantly to those who have been invested in the struggles of Thomas, his right hand man Newt (Thomas Brodie-Sangster), Frypan (Dexter Darden), and Brenda (Rosa Salazar). As I’m sure anybody who followed the last two movies could figure out, I was not at all and while I concede that the movie does very well to collect all of the threads of the story and tie them into a neat conclusion, it ain’t my jam. For one thing, the kids’ acting got worse with the way they try to escalate and intensify their responses to each situation with puppy dog attempts at gruff exclamations of “shit!” and this is shoved in our faces when Brodie-Sangster has an arbitrary development to his character that feels nothing more than mean-spirited. He does little else with it than bark at other characters often and hyperventilate because Newt – like pretty much every other ally – doesn’t really have a personality beyond “is loyal to Thomas”.
It’s also shoved in our faces when the group’s mission is made complicated on the sudden romantic implication between Thomas and fellow Glader Teresa (Kaya Scodelario) that seems hella outta nowhere, especially considering how sex-less the first Maze Runner pointedly was about a girl living enclosed amongst boys and how little time they spent together in The Scorch Trials before Teresa was revealed to be a turncoat for WCKD. That the heroic group is apprehensive about Thomas’ desire to find some good in her again despite accepting the mid-film reveal of an easily guessable previously-thought-dead* murderous villain who apparently changed between movies from a violent psycho into a brusque senior rebel to look up to with few objections is just one of many inconsistencies that I rolled with because I wanted this movie to wrap up.
These threads are also the subject of an ending that really wants to sell you on the gravitas of the situation by suddenly taking stakes at the last minute that were barely on the ground before (though it ends on a much more hopeful note than that sounds) and add that to uncompelling performances from actors who are empty presences at worst and at best given little to do except Aidan Gillen’s evil militaristic Janson (which is essentially Gillen playing the same slimy contemptible piece of shit he built his career out of playing) and I’m just not here for the story, y’all. Power to those who are.
But if you’re watching Maze Runner: The Death Cure for the visuals of director Wes Ball and the cinematography of Gyula Pados, well… it’s actually a pretty good-looking movie. We’re not talking Deakins here, but the setting of the majority of the film in an area of urban ruins and sleek cold reflective surfaces as in the central Last City where WCKD centers itself gives Ball and Pados a lot of room to play with light and shadow to give Death Cure a more mature chilliness than any scene of young looking late 20-year-olds with guns could possibly have. In general, the design of The Last City feels like the modern response to the city from Conquest of the Planet of the Apes, a desperately authoritarian and insincere industrialization of survivalism all proven by how tall and closed-off the towers are. It’s not revelatory at all since we already had a feeling the makers were getting better within the sweltering desert heat of The Scorch Trials, but it’s impressive set-building and it does tell us what was the answer to The Maze Runner‘s visuals all along: keep Ball and Pados the fuck away from trees and grass.
A much more enjoyable benefit to yours truly: the action setpieces are all not only coherent and impactful, they’re also unhinged in a manner akin to the Fast and Furious movies. The central “break in and break out” heist of The Death Cure involves several “are you crazy?” type of stunts and actions on the parts of the characters that clearly would have killed any person in real-life physics – including a crane swinging a bus full of children by its front grill over a wall – and it’s the most joyous and alive the franchise has ever felt to me. And this isn’t something The Death Cure takes its sweet-ass time getting to: it opens on a kinetic grounded train heist that makes for great enough popcorn spectacle in the early months of the year.
So… is this enough to say I like Maze Runner: The Death Cure? Not really. Given how much I unexpectedly gave T.S. Nowlin’s final screenplay for the franchise, I’m starting to feel I spoke too soon in claiming it’s a decent movie. But it does recognize the job it has in closing out a franchise and establishing a brand new environment to blow to smithereens in its climax. And it sets its mind on completing that job no matter how messy it gets and for the franchise’s perseverance, I do admit admiration growing in seeing it finally reach the end of its own maze.
*I am aware that the character in question was revealed to be alive in the third book that this movie is based on, but I am not sure that his “apparent death” was as ludicrously severe as this character’s was.