{"id":1384,"date":"2018-01-28T09:49:02","date_gmt":"2018-01-28T08:49:02","guid":{"rendered":"https:\/\/www.senses.se\/en\/review-maze-runner-the-death-cure\/"},"modified":"2025-06-16T19:19:12","modified_gmt":"2025-06-16T17:19:12","slug":"review-maze-runner-the-death-cure","status":"publish","type":"post","link":"https:\/\/www.senses.se\/en\/review-maze-runner-the-death-cure\/","title":{"rendered":"Review: Maze Runner \u2013 The Death Cure"},"content":{"rendered":"

As a reviewer, one sometimes encounters films late in a series. I have previously reviewed Pitch Perfect 3<\/a> and Insidious 4<\/a>, without prior exposure to their respective franchises. With Pitch Perfect, I had the opportunity to catch up, viewing the first and second installments before submitting my review. Regrettably, I did not have the same luxury with the Maze Runner<\/strong> series.<\/p>\n Having a really bad day.\n

Following the events of The Scorch Trials<\/strong>, the protagonists execute a dramatic rescue to retrieve Minho (Ki Hong Lee)<\/strong>. It quickly becomes apparent that their plans will face considerable challenges. With only one city remaining, under WCKD control, Thomas (Dylan O\u00b4Brien)<\/strong> and his group must infiltrate it to uncover crucial answers. This proves to be a difficult task, though they do receive assistance from an unexpected ally.<\/p>\n

Entering a trilogy with its final film is generally not recommended. However, having watched numerous films, I found that the filmmakers provided enough contextual clues to understand the preceding narrative and essential information. Wes Ball<\/strong> directed all three films, leveraging his background in special effects. Indeed, the film’s strength lies in its well-executed special effects. However, the praise diminishes considerably for Maze Runner: The Death Cure<\/strong> beyond this aspect.<\/p>\n The gang is assembled.\n

During the viewing, I began compiling a list of clich\u00e9s present in the film. I soon realized that adhering to a review length of 500 to 1,000 words would preclude a comprehensive enumeration, as the list threatened to extend beyond 3,000 words. The film relies heavily on familiar tropes. The director offers no discernible self-awareness or ironic acknowledgment of these well-worn conventions. Consequently, the film risks future recognition primarily for its adherence to clich\u00e9s, encompassing everything from the “defeated-man-suddenly-stands-behind-the-hero-with-blood-on-his-forehead”<\/em> trope to the “All-is-lost-but-then-the-friends-we-didn’t-think-would-come-along-save-the-day-at-the-last-second”<\/em> rescue.<\/p>\n

Furthermore, the film exhibits significant plot inconsistencies. A sequence near the conclusion involving a bus and a crane presents a notable example. I will refrain from detailing the specific issue to avoid spoilers. However, it is evident that Wes Ball’s direction lacks a coherent understanding of distance assessment and firearms. Villains miss targets with automatic weapons due to perceived excessive range (a mere hundred meters), while the heroes successfully engage them with pistols at the same distance. This presents a logical problem, as pistols are less effective at that range than the automatic weapons wielded by the antagonists. This discrepancy results in action sequences that feel clumsily directed and undermine the film’s credibility.<\/p>\n Good idea but the implementation leaves much to be desired.\n

Dylan O’Brien reprises his role as Thomas. Having only seen him in this installment, I can still commend his performance. He delivers a compelling presence, embodying a hero the audience can follow. Maze Runner: The Death Cure<\/em> was initially scheduled for release in February of the previous year. The date was postponed due to a serious injury O’Brien sustained during a stunt. While specific details remain unconfirmed, reports suggest he was struck by a vehicle. The film company deliberated on how to proceed, contingent on his recovery.<\/p>\n

Aidan Gillen<\/strong> and Patricia Clarkson<\/strong> return as representatives of WCKD. Their characters’ motivations and actions, particularly towards the film’s conclusion, may prove confusing for viewers unfamiliar with the preceding films.<\/p>\n Slightly confusing scene.\n

My rating is low, and it is possible that it would have been higher with prior engagement with the series. Certain events within the film might have resonated more profoundly. Conversely, it is also conceivable that the rating would have been even lower had the film failed to maintain stylistic consistency with its predecessors. I intend to watch the earlier films eventually, and will add a note to this review upon doing so.<\/p>\n