Maze Runner: The Death Cure
Dylan O’Brien, Ki Hong Lee, Thomas Brodie-Sangster, Kaya Scodelario
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This film is the final breath of life for an entire sub-genre…
The Maze Runner films exist in a rather strange section of the YA adaptation niche set up by the trailblazing Hunger Games series. A veritable turducken of post-apocalyptic story tropes (natural disasters, private governmental control, zombies, humanity-threatening epidemic), it started out as a surprisingly poignant parable on what it means to go from a child to an adult.
While this conclusion to that same story doesn’t carry the same deftness of theme, it also doesn’t carry the wonky juggling act that its follow-up The Scorch Trials was stuck with. Things are already looking up with how this wasn’t turned into yet another two-part finale like Harry Potter, Twilight and the now-stillborn Divergent series, and it only gets better from there.
Leading man Dylan O’Brien may fall into the background at times, but he’s bolstered by how everyone around him is on their A-game. From Ki Hong Lee selling the virtual hell he’s stuck in, to Thomas Brodie-Sangster giving the film incredibly dramatic moments, to Kaya Scodelario managing to salvage questionable character decisions from Scorch Trials and turning them into a product of complexity rather than idiocy.
Through them, the immediately tense action scenes hit that much harder, allowing the audience to bask in the chaos going on around them. Some of the bigger moments do hinge on extremely good luck on the part of the characters, with someone showing up just in the nick of time to make things work.
However, between the highly memorable and effective set pieces like the tunnel full of Cranks and the urban hellfire of a finale, along with the pleasantly smooth pacing, those contrivances don’t linger long enough to be a major drawback.
As a conclusion to the story of the Gladers and their fight against the evil corporation WCKD (World Catastrophe Killzone Department, a name that never stops being silly), it wraps up the franchise’s aspirations as thinly-veiled allegory for the responsibilities of adulthood.
But this is something more than that. This film is the final breath of life for an entire sub-genre, the last entry from the film franchises that spawned in the wake of Hunger Games back in 2012. Rather than preparing its audience for life post-adolescence, this seems to prepare us for life post-post-apocalyptic teenage fantasy.
While most of the world is officially burnt out on this latest wave of book adaptations, it seems like the main lessons of that wave concerning how the next generation must be the guardians of tomorrow have been listened to.
One of the bigger recurring trends of last year’s cinematic crop was how children/teenagers are often more adult than the actual adults (It, Jasper Jones, The Book Of Henry, The Glass Castle, etc.) With this film’s grounded but hopeful denouement, it looks like whatever may come next, we are more prepared for it than ever.