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The Maze Runner franchise seems to be treated like the lower tier of the dystopian YA adaptations but the films manage to be more compelling than they are given credit for. The Hunger Games is at the top of its class in regards to these adaptations that seemed to be all the rage before burning out almost as quickly as they came. Divergent got its fair share of attention as well and despite a promising start, each installment proved to be an exercise in tedium. In fact, things got so bad for the Divergent franchise that the unwise choice to split the final film into two movies proved to be dire when Allegiant, part one of the finale, proved to be a box office disappointment. The cinematic finale for that franchise is likely dead in the water but with Maze Runner: The Death Cure, this series gets to do what Divergent could not and that is complete its story which began with the first film in 2014.
Full disclosure, I have not read the books on which these films are based. I simply judge them on their ability to entertain me on a cinematic level and unlike the Divergent series, Maze Runner gets better and better. Sure, much of the structure is similar to most YA adaptations that seem to share the same DNA but the appeal of this franchise is its cast and confident direction from Wes Ball. The actors have crafted characters that keep you invested and Ball has been the fearless leader that has only improved each time he has stepped behind the camera on these films. As we come to the conclusion with this film, the ending is satisfying for someone like myself that became a casual viewer when the first film was released.
Even though you don’t necessarily need to read the books to get immersed in what’s going on, a passing knowledge of the films will certainly help. James Dashner, who wrote the novels on which these films are based, has created a world and terminology that you may need a refresher on before entering the world of the final installment. The maze-running part of The Maze Runner trilogy wrapped up about two-thirds of the way into the first film, leaving it to exist only as a metaphor for fresh-faced young people getting treated like laboratory rats. And not without cause: They are immune to a global pandemic called “The Flare,” which is threatening to turn the bulk of humanity into grotesque, snarling, zombie-like features called “Cranks.” Operating under acronym WCKD, a government agency, led by nefarious individuals, wants to harvest our heroes for an antidote to the virus and develops elaborate containment systems to keep them in line.
The Death Cure starts with a slam-bang setpiece where our Chosen One hero, Thomas (Dylan O’Brien), teams up with a few “Gladers” and Right Arm leaders (Barry Pepper, Giancarlo Esposito, and Rosa Salazar) to liberate his friend Minho (Ki Hong Lee) and other immune children from a moving WCKD train. They partially succeed, but fail to find Minho, who’s been taken to a gleaming WCKD metropolis called “The Last City” to play human guinea pig once again. It’s up to Thomas and the gang to infiltrate this high-tech quarantine, lorded over by imperious doctor Ava Paige (Patricia Clarkson) and Janson (Aidan Gillen), her talking-villain of a security head. Thomas also has to confront Teresa (Kaya Scodelario), a Glader turncoat who betrayed his trust and opted to join WCKD in their search for the cure.
What has made the Maze Runner franchise stand apart from its counterparts, and it continues with this installment, is the direction of Wes Ball. He has overseen all three films and he infuses the film with style and stages some heart-pounding sequences that are fun to watch. Ball has an affection this genre and he has an innate skill to use an apocalyptic premise to reframe setpieces from Westerns, wilderness movies, urban shoot-’em-ups, and previous sci-fi Armageddons like the original Planet of the Apes. One could say he’s paying homage to various genres but his vision is strong and sure enough that it doesn’t come off as a pale imitation.
Ball’s straightforward, flexible technique and his ability to stage action appropriate to each locale have brought the franchise a refreshing variety. He filled The Maze Runner with surefire boys’-adventure sights, like a pack of kids using makeshift spears to battle enormous insect-like creatures. The Scorch Trials was a nonstop chase—like a Mad Max movie staged on foot. The Death Cure starts with a slam-bang train robbery before it segues into a number of cliffhangers in which the “cliffs” are urban canyons of glass and steel. It all hangs together because the director’s aim is true. When he sets up, say, a riff on Butch and Sundance’s mountainside plunge, he keeps his performers from mimicking Newman and Redford and provides them with different notes of panic and comic relief.
The first two films benefitted from a quick succession in their release, a bit of a necessity for a genre that seemed to be approaching life support, but this final film was delayed due to an on-set injury involving its star, Dylan O’Brien. Proving his dedication to the part, O’Brien returned once he was fully healed a lot of his tenacity is what has made Thomas such a likable hero over three films. The break between this film and the last installment actually is a benefit because it allows the viewer to breathe and get acquainted with the characters and circumstances again. The real-life delay also adds some layers to how O’Brien plays the role. There is a determination in his performance that resonates and in a genre where the younger actors are usually overshadowed by their more accomplished character actor co-stars, he, along with his supporting cast of young performers, hold their own. Again, this is also a credit to director Wes Ball who seems to have a solid rapport with his performers and utilizes them to their strengths.
As far as young-adult franchises go, Maze Runner always seemed like sort of the black sheep to me, but in a good way. It was never perfect, but it had its charm. Something about it not being as polished as its brethren makes it stand out and that continues as they wrap up the story. As a spectacle for its own sake, The Death Cure blows away the Divergent series and even offers up ideas complex enough that it makes it much better than the YA duds that have tried to keep this genre alive. I’m glad that the franchise got to tell its final story and Ball wisely bookends the high energy introductory sequence with a bittersweet, meditative coda that allows Thomas, and the audience, to measure his losses. This movie says that in an uncertain world, we must be loyal to our friends and honor their memories. Thomas can be proud that he tried to live up to his own renegade version of the U.S. Army Rangers’ code. He did his best to leave no Glader behind.
Film:
Bluray Video:
The video is presented in 2.39:1 1080p and it really pops for a film set in a dystopian future. The film’s specific color palette really shines in hi-def, particularly the opening sequences which thrives on the style set out by director Wes Ball. This is a film that could look rustic and tired but it definitely pops on this Blu-ray release.
Bluray Audio:
Faring even better is the 7.1 DTS-HD MA audio track which makes several action sequences come alive across all your surround channels. Dialogue is clear and crisp while the action set pieces are near reference level quality. This is a track that definitely gives your surround sound a workout and you won’t be disappointed.
Bluray Extras:
The Maze Runner Blu-ray releases have never really slacked on extras and this release is no exception. If you’re a fan of this film and the franchise, you are treated with many behind the scenes tidbits that make the extras stand out. Here is what you get:
* Digital copy * DVD copy *
“Maze Runner: Origins” mini-comic
“The Final Run”- A featurette that contains set footage, interviews, and discussions about the trilogy and story of this third installment.
“Allies Reunited”- An extra about the cast’s bond and characters returning.
Commentary by Wes Ball, T.S. Nowlin, and Joe Hartwick Jr.
11 deleted and extended scenes with optional commentary by Wes Ball, T.S. Nowlin, and Joe Hartwick Jr.
2 “Maze Runner: The Death Cure” trailers
Wes’ selects and storyboard galleries.
Visual effects breakdowns and reel.
A funny 11 1/2 minute gag reel.
“Going Out On Top”- This extra covers the thrilling opening sequence.
“Dystopia: The Completed World”- A featurette about the film’s settings and sets as well as the location shooting.
“A Look Back: The Director’s Journey”- A featurette on director Wes Ball who helmed all 3 “Maze Runner” films.
