[yasr_overall_rating]
Thomas leads some escaped Gladers on their final and most dangerous mission yet. To save their friends, they must break into the legendary Last City, a WCKD-controlled labyrinth that may turn out to be the deadliest maze of all.
It’s hard to know where to begin when describing a film like “Maze Runner: The Death Cure.” Perhaps most obvious is that the storyline is highly derivative. After “The Hunger Games” and the “Divergent” series of dystopian futures, one would expect the filmmakers to try to break from the mold, at least somewhat. Alas, here they do not.
Dylan O’Brien returns as Thomas, the young hero leading his fellow “Gladers” on the long and tedious charge to recover their friend Minho (played by Ki Hong Lee) from the clutches of WCKD (World in Catastrophe: Killzone Experiment Department). WCKD is trying to find a cure for a disease that causes people to turn into zombies.
A few words about zombies and the movies: George Romero. “28 Days Later.” “World War Z.” These are some critical benchmarks that demonstrate how to do zombies well. Or, if you can’t take zombies someplace new, then at least have fun with them as in “Zombieland.” Unfortunately, “Maze Runner: The Death Cure” simply goes through the motions not only with zombies but also story, action, and dialog. Let’s see, did I leave anything out?
The first “Maze Runner” was an enjoyable B-movie. There was surprise and intrigue, and the cast was serviceable. In “The Death Cure,” the cast still contains many of those same B-movie actors, and unfortunately, it feels like it. It’s not that the film is bad – it is just so very ordinary.
Barry Pepper looks good in the action sequences, but when he starts delivering another inspiring speech, I wanted to groan. Even the accomplished Pepper can’t carry the hokey lines he is compelled to speak.
Patricia Clarkson, as usual, delivers a fine performance as Ava Paige who directs WCKD’s activities. Also noteworthy is Giancarlo Esposito as Jorge, who does an excellent job, as does Rosa Salazar as Brenda – both of them showing up when the turgid plotting desperately needs an injection of fun. Walton Goggins also has an interestingly creepy role, which carries his portion of the story well.
Much of the ennui inflicted by the film comes by way of some really tired dialog. No matter what the source material served up from novelist James Dashner consisted of, screenwriter T.S. Nowlin should have tried harder to freshen things up. Instead, he allows the characters to repeat lines we’ve heard so many times before in so many other films. Some examples:
“You’ve got company,” says Thomas over the radio to Jorge and Brenda as they race alongside the railroad tracks in their SUV when a souped-up version of an Osprey races in from behind. (Duh.)
“You can’t save everyone, Thomas,” says Brenda.
“I can try,” replies Thomas. (My hero.)
“Hang on!” says Thomas. (I’m so glad you said that – I was just about to let go.)
Sure, there are limitations of language, but here’s a case in point. In the movie “Get Out,” when Daniel Kaluuya’s friend, played by Lakeith Stanfield, utters the title’s famous words at a family gathering, there is nothing tired or clichéd about it. The scene reinforces our growing sense of unease. When similar lines are spoken in “Death Cure,” it’s hard to stifle a yawn or keep from rolling your eyes. Further, there is almost nothing new here in terms of story, and nearly all of the action has been staged better in other films.
“Death Cure” is nothing if not serious. So very serious. There is virtually no humor throughout the film. The runtime is equivalent to “Thor: Ragnarok,” at well over two hours, but without any of the delightful one-liners. At several points as I sat in the theater, I just wanted Thomas to lighten up for ten minutes. Maybe like “Die Hard” with some Bruce Willis sarcasm: “Come out to the coast, we’ll get together, have a few laughs.”
In the end, “Maze Runner: The Death Cure” is a mediocre film dressed up with an expensive production budget. As the movie concludes, it appears that all may be well – or at least mostly – for the intrepid “Gladers.” Nonetheless, those utopian scenes right before the closing credits deserve some commentary. No smartphones, no flush toilets or evidence of running water. Just a group of young, happy campers staring into the ocean and the vespertine sunset – all smiling gently or looking peacefully stoic. That is, right after they have listened to another pep talk from Barry Pepper. Life is good – even quotidian. Seriously?
In theaters Friday, January 26th
