I’ve got a few questions for you. Do you like The Maze Runner series? Are you a fan of? Will you be in the Los Angeles area this Tuesday night? And would you like to see director Wes Ball talk about the film in person? If you answered yes to these questions I’m about to make you very happy. On January 16th at 7pm in L.A., Collider will be partnering up with IMAX and 20th Century Fox for a special, intimate screening of Maze Runner: The Death Cure in laser projection. After the screening ends, I’ll be moderating an extended Q&A with Wes Ball. If you’re wondering how you can get in, we’ve got you covered. To see this free IMAX screening you need to email thecollidermailbox@ gmail.com with the subject line “I Want to See The Maze Runner: The Death Cure with Wes Ball!”. You need to include your name in the body of the email and if you’d like to bring a guest. We’ll be accepting emails until Monday the 15 th and we’ll contact the people that won passes with specific info about the screening later that day. Again, this screening is in Los Angeles on January 16 th at 7pm. Last time was a bit surprised how many asked for tickets that don’t live in the areaHope to see some of you at the screening. ![]() Maze Runner The Death Cure 2018 Full Movie Watch Online or Download wes ball instant free on your Desktop, Laptop, notepad, smart phone, iPhone, Apple, all others. Watch Maze Runner 3: The Death Cure Online Free on 123Movies, Movie 123Movies, Thomas leads his group of escaped Gladers on their final and most dangerous mission yet. Watch The Maze Runner: The Death Cure (2018) Online, Young hero Thomas embarks on a mission to find a cure for a deadly disease known as the. Watch,Maze Runner The Death Cure Full Movie 2017 Download & Watch Free Online (4K UHD) 123movies,Download and Stream Maze Runner The Death Cure. ![]() ![]() ![]() Here’s the official synopsis for the film: In The Maze Runner Thomas (Dylan O’Brien) woke up as he was being delivered to the glade. He had no memory of who he was or why he’d become a member of a community of young people; among them Minho (Ki Hong Lee), lead maze runner; Newt (Thomas Brodie-Sangster), a good friend and advisor, Gally (Will Poulter), a leader and adversary and Teresa (Kaya Scodelario), the only female glader, with whom Thomas may have a potentially dark history. Together they are trapped, surrounded by 200 foot walls and an ever-changing maze. – Bad turns to worse when the gladers finally escape the maze only to discover they are in the middle of a desolate wasteland called The Scorch. In Maze Runner: The Scorch Trials, Thomas and the surviving gladers met new allies while discovering clues about a mysterious group behind all of their “tests” – an organization known as WCKD. Image via 20th Century Fox With Maze Runner: The Death Cure the motives of WCKD become clearer: Dr. Ava Paige, WCKD’s executive director is close to what she believes is a cure for the disease known as The Flare, an infection that has decimated the world’s population. But the cure comes by sacrificing the few young people left in the world who are apparently immune. In order to free those who have been rounded up as test subjects, including his friend Minho, Thomas must now band together with fellow survivors, old and new, and take the battle to what may be the last remaining city and the final stronghold of WCKD. He must break into the super-secure WKCD headquarters and try to bring down the organization from the inside. – Action reaches new heights in this mission-oriented third and final segment of The Maze Runner Series. The Wes Ball-directed adaptation of the bestselling James Dashner YA trilogy is a 20th Century Fox production. The screenplay was written by T.S. Producers are Ellen Goldsmith-Vein of The Gotham Group, Wyck Godfrey and Marty Bowen of Temple Hill Productions Joe Hartwick, Jr., Wes Ball, and Lee Stollman. Alonso Duralde, TheWrap’s lead movie critic, has written about film for Movieline, Salon, MSNBC.com. He also co-hosts the podcast and regularly appears on (The Young Turks Network). Senior Programmer for the Outfest Film Festival in Los Angeles and a pre-screener for the Sundance Film Festival, he is also a consultant for the USA Film Festival/Dallas, where he spent five years as artistic director. A former arts and entertainment editor at the Advocate, he was a regular contributor to “The Rotten Tomatoes Show” on Current. He is the author of two books: “Have Yourself a Movie Little Christmas” (Limelight Editions) and “101 Must-See Movies for Gay Men” (Advocate Books). The third and final film in the “Maze Runner” series, subtitled “The Death Cure,” gets it half right as an action movie. The stunts, the explosions and the chases are all exciting and elaborately mounted; there’s just not much of a movie to go with them. When it was announced that last chapter of the on-screen “Divergent” saga was going straight to live on a farm upstate — or, rather, directly to television — it seemed like we’d heard the last gasp of the once ubiquitous, now exhausted YA genre. But no, here comes “The Death Cure” to pound the final nail in the coffin of teenage chosen ones fighting zombies in a post-apocalyptic dystopia. Goodbye, and good riddance. “The Death Cure” provides no exposition or title cards up front to bring you up to speed if you missed the previous chapters or if, like me, you saw them but can scarcely remember the slightest detail about them, apart from a maze and some running. Nonetheless, we’re plunged right into the first of several splashy stunts, wherein a plucky band of rebels hijack a train, capture a futuristic fighter plane and liberate several dozen pre-adolescents. Watch Video: That this entire operation involves the train, the plane and various feckless bad-guy soldiers winding up in exactly the right place at exactly the right time is the least of the film’s concerns. The one detail that Thomas (Dylan O’Brien) and his cohorts miss is getting the train car that contains their friend Minho (Ki Hong Lee, “Unbreakable Kimmy Schmidt”); realizing his mistake, Thomas wants to try another rescue mission, even though it will take him and his friends into the heart of “the last city,” a walled stronghold controlled by the wicked WCKD corporation, which has been attempting to use all of these untainted teens to wipe out the virus that’s turned most of the planet into half-dead bloodsuckers. For those who have been paying attention and have any emotional investment, “The Death Cure” brings back some surprise characters, offers redemption to some (if not all) of the villains and winds up with an emotional coda that pays tribute to the brothers- and sisters-in-arms lost along the way. And we know it’s emotional because the score by John Paesano (“The Star”) keeps whipping us in the face with tear-jerking semaphore flags. Also Read: For everyone else, there’s the action, and it’s here where “The Death Cure” makes its strongest case for existence. There are cranes and buses and explosions and shoot-outs and hand-to-hand battles and invasions and demolitions, and they’re all delivered with a verve that is otherwise missing. Director Wes Ball’s entire feature output has been these “Maze Runner” movies, and he definitely seems to have been learning on the job. He (and a no doubt very talented second unit) teams with editors Paul Harb (“The Expendables 3”) and Dan Zimmerman (“The Dark Tower”) and a top-flight visual effects crew to jolt the movie back to life every 15 or 20 minutes with another thrilling sequence. Watch Video: In between, alas, T.S. Nowlin (“Phoenix Forgotten”), adapting James Dashner’s novel, mostly goes through the YA motions. The plot is so by-the-numbers and the dialogue so forgettable that the talented cast of character actors – including Lee, Thomas Brodie-Sangster, Patricia Clarkson, Giancarlo Esposito, series newcomer Walton Goggins, and one more who can’t be mentioned since it’s a spoiler – seem to be mainly biding their time until a more interesting and possibly less lucrative project comes along. As for O’Brien and co-star Kaya Scodelario, they’ve been reduced to beautiful blanks over the course of this entire series. If it turns out that they have a post-YA resurgence along the lines of what Kristen Stewart and Robert Pattinson have achieved since “Twilight,” more power to them. The world of “Maze Runner” was never particularly unique or interesting. The best thing that “The Death Cure” does is blow it up spectacularly. The Maze Runner movies have been an enjoyable outlier in the 21st century YA fantasy genre. For two films now they’ve focused more on action and bizarre mysteries than anything resembling serious melodrama. The heroes of The Maze Runner and The Scorch Trials barely have time to catch their breath. Taking a break to pontificate about their feelings is a luxury that none of them could afford until now. The third film in the series, The Death Cure, has all the exhilarating action we’ve come to expect from this trilogy but, because it has to wrap everything up, it also gets more personal and dramatic. And that’s a problem. The story is ending – heck, maybe even the whole WORLD is ending – and the good guys and bad guys are both wondering about what impact they’ve had and whether or not they’ll ever get closure with the people they love, and none of it works because for two of these films all these characters have been total mysteries. Most of them are amnesiacs, for crying out loud. Amnesia was the perfect excuse to have them run headlong into the next deathtrap without thinking about their personal baggage, but now, too late, they’re looking behind them and worried about where their baggage went. The Death Cure opens with Thomas (Dylan O’Brien), Newt (Thomas Brodie-Sangster), Brenda (Rosa Salazar), Frypan (Dexter Darden) and Jorge (Giancarlo Esposito) in the middle of a death-defying train heist, as they try to rescue their captured friend Minho (Ki Hong Lee) from the clutches of the sinister corporation WCKD. The evil leaders of WCKD are using Minho’s blood to cure the Flare Virus, which has ravaged the whole world and killed billions of people, and yes, it’s kind of hard to explain why they’re the bad guys. They’re trying to save more lives than the heroes ever do in this series. They’re just manipulative jerks about it. Thomas’s plan fails, Minho is moved to the last heavily fortified city on Earth, and now our intrepid teen heroes have to find a way to break in, find their friend, steal valuable medical supplies, and then sneak out. And since this is a Maze Runner movie they’ll spend a lot of that time frantically running down hallways, through exploding city streets, and jumping out of windows. As well they should. Like the first two Maze Runner movies, The Death Cure sends Thomas & Co. Running through a series of dangerous obstacles, but for the first time, they’re calling the shots. Ironically, this is one of the main reasons why The Death Cure, though still somewhat entertaining, is the weakest entry in the series. Our heroes have time to plan and their plans are ludicrous, and only call attention to the fact that they’re basically doing everything in their power to prevent doctors from curing a virus that’s killed off most of the human race. What’s more, they’re doing it to save characters who made rather little impression over the course of the first two films. Thomas and his friends may be willing to sacrifice everything for Minho and maybe even the traitorous Teresa (Kaya Scodelario), but there’s a very good chance that the audience is more concerned about the whole “stopping the apocalypse” angle, and that’s a major flaw in the storytelling. Plotwise, the Maze Runner movies just plain don’t make sense, dang it. But when they’re free-running through giant labyrinths whilst being chased by mammoth Erector Set spiders, the plot doesn’t matter. When they’re careening through the wasteland pursued by zombies, it doesn’t matter either. Now, the plot and the characters are all they’ve got left and yeesh, was that a mistake. It’s a fallacy to say that mysteries are always more interesting than their solutions, but when the solutions are this dumb, maybe the mysteries should have remained the number one priority. It’s a shame that The Maze Runner movies are going out on their flattest note, but The Death Cure isn’t completely off-key. Wes Ball has directed every entry in the franchise and he’s evolved into a very skilled action filmmaker. Complex set-pieces with an incredible number of moving parts are depicted clearly, excitingly, and with visual panache. Many of the action sequences are even intense and clever enough to elicit triumphant, reflexive giggles at how much fun you’re having. It’s fair to say that whenever the cast is getting cardiovascular exercise, The Death Cure, like the other Maze Runner movies, is a hoot. It’s when they stop and talk to each other that we realize just how boring they can be. A Spoonful of Action Makes This Medicine Go Down. By The Maze Runner movies have been an enjoyable outlier in the 21st century YA fantasy genre. For two films now they’ve focused more on action and bizarre mysteries than anything resembling serious melodrama. The heroes of The Maze Runner and The Scorch Trials barely have time to catch their breath. Taking a break to pontificate about their feelings is a luxury that none of them could afford until now. The third film in the series, The Death Cure, has all the exhilarating action we’ve come to expect from this trilogy but, because it has to wrap everything up, it also gets more personal and dramatic. And that’s a problem. The story is ending – heck, maybe even the whole WORLD is ending – and the good guys and bad guys are both wondering about what impact they’ve had and whether or not they’ll ever get closure with the people they love, and none of it works because for two of these films all these characters have been total mysteries. Most of them are amnesiacs, for crying out loud. Amnesia was the perfect excuse to have them run headlong into the next deathtrap without thinking about their personal baggage, but now, too late, they’re looking behind them and worried about where their baggage went. The Death Cure opens with Thomas (Dylan O’Brien), Newt (Thomas Brodie-Sangster), Brenda (Rosa Salazar), Frypan (Dexter Darden) and Jorge (Giancarlo Esposito) in the middle of a death-defying train heist, as they try to rescue their captured friend Minho (Ki Hong Lee) from the clutches of the sinister corporation WCKD. The evil leaders of WCKD are using Minho’s blood to cure the Flare Virus, which has ravaged the whole world and killed billions of people, and yes, it’s kind of hard to explain why they’re the bad guys. They’re trying to save more lives than the heroes ever do in this series. They’re just manipulative jerks about it. Thomas’s plan fails, Minho is moved to the last heavily fortified city on Earth, and now our intrepid teen heroes have to find a way to break in, find their friend, steal valuable medical supplies, and then sneak out. And since this is a Maze Runner movie they’ll spend a lot of that time frantically running down hallways, through exploding city streets, and jumping out of windows. As well they should. Like the first two Maze Runner movies, The Death Cure sends Thomas & Co. Running through a series of dangerous obstacles, but for the first time, they’re calling the shots. Ironically, this is one of the main reasons why The Death Cure, though still somewhat entertaining, is the weakest entry in the series. Our heroes have time to plan and their plans are ludicrous, and only call attention to the fact that they’re basically doing everything in their power to prevent doctors from curing a virus that’s killed off most of the human race. What’s more, they’re doing it to save characters who made rather little impression over the course of the first two films. Thomas and his friends may be willing to sacrifice everything for Minho and maybe even the traitorous Teresa (Kaya Scodelario), but there’s a very good chance that the audience is more concerned about the whole “stopping the apocalypse” angle, and that’s a major flaw in the storytelling. Plotwise, the Maze Runner movies just plain don’t make sense, dang it. But when they’re free-running through giant labyrinths whilst being chased by mammoth Erector Set spiders, the plot doesn’t matter. When they’re careening through the wasteland pursued by zombies, it doesn’t matter either. Now, the plot and the characters are all they’ve got left and yeesh, was that a mistake. It’s a fallacy to say that mysteries are always more interesting than their solutions, but when the solutions are this dumb, maybe the mysteries should have remained the number one priority. It’s a shame that The Maze Runner movies are going out on their flattest note, but The Death Cure isn’t completely off-key. Wes Ball has directed every entry in the franchise and he’s evolved into a very skilled action filmmaker. Complex set-pieces with an incredible number of moving parts are depicted clearly, excitingly, and with visual panache. Many of the action sequences are even intense and clever enough to elicit triumphant, reflexive giggles at how much fun you’re having. It’s fair to say that whenever the cast is getting cardiovascular exercise, The Death Cure, like the other Maze Runner movies, is a hoot. It’s when they stop and talk to each other that we realize just how boring they can be. The Maze Runner is a strange franchise. Languishing at the tail-end of the dystopian YA craze, it’s a Frankenstein’s monster of things we’ve all seen before, yet the films themselves are so average that no one really notices when a new one reaches cinemas. It’s faired better than sister property Divergent, which never got to finish, but it’s still a world away from your Potters and Hunger Games. The Death Cure brings its own baggage to the table, of crouse, finally reaching our screens a full year later than planned due to a serious on-set accident that led to star Dylan O’Brien being hospitalised. After a rescue mission fails to retrieve Minho (Ki Hong Lee) Thomas (O’Brien), Newt (Thomas Brodie-Sangster) and the others plan to break into WCKD headquarters. Meanwhile, Teresa (Kaya Scodelario) continues to look for a cure to the disease, and the infected living outside of the city’s walls (led by a wonderfully hammy Walton Goggins) plan a full-scale revolt. As was the case in the previous installment, The Scorch Trials, the women are the highlight. Now revealed to be working both sides, Scodelario offers a merciful note of nuance (Aiden Gillen’s on the other end of this scale as Janson) to proceedings, her character never wavering from what we know to be her central motivations. Rosa Salazar as the tough-as-nails Brenda is also a welcome presence in what has been a heavily male-led franchise. The rest do their best with what they’re given, O’Brien slowly becoming a Hollywood curiosity simply for being a potentially great actor saddled with bad roles in bad films. His status in the Maze Runner franchise is the most egregious example of this, with the character never really coming alive with the charisma and humanity he’s become known for amongst Teen Wolf viewers. That said, despite the break in filming, it’s hard to see the join. The main problem with The Death Cure is the same problem that has plagued the entire franchise – none of it makes a lick of sense. The maze itself was an extremely theatrical, long-way-around method of getting the resources that WCKD needed, and this film posits that during that time no one bothered to test the blood of the kids inside. Then there’s the ideological issue, which is never given its due. The problem facing humanity in this scenario is that a few must be sacrificed in order to give the many a chance – a classic ethical issue. The setting of Death Cure then adds a 1%-ers element to the problem, with Ava Paige and Janson hiding in their ivory tower as the infected burn below. But because the scientists are the baddies, and Thomas is our protagonist, we’re clearly supposed to side with the lads on the issue. Honestly, it’s hard to buy into the life and death scenarios when everyone is acting against their own interests. Thomas and the others could save the world if they just had a cup of tea with Ava over a blood transfusion, but they’re too stubborn to do so. If you ignore all of this, The Death Cure is easily the best film in the series. Despite being way too long and maddeningly meandering in places, there are some great moments along the way. The excellent opening sequence, especially, kicks things off perfectly with an edge-of-your-seat train chase that (helpfully, for non-fans) re-introduces all of the main players. Once we get within the city walls, the pace rarely lets up and it’s here the films benefits most from its assembly of actors. Thomas struggles to make a mark, but O’Brien does good exhausted pathos and the chemistry with both Scodelario and Salazar makes this one of the most interesting love triangles (which is a slightly unfair label for the film’s dynamic) of the genre in recent times. There’s also a bit with a bus and a crane that’s just insane enough that it works. Most book fans will be looking forward to the Newt arc, I’m sure, and without spoiling anything I’ll say that it’s one of the film’s other highlights. In the adaptation even more than the books, this is a love story between the occupants of the maze – an unashamedly emotional demonstration of platonic male loyalty and affection in a world where such things are rare to see. But while that doesn’t quite redeem the film from its plot and logic holes, unnecessary length and all of your typical problems that come with adapting a novel to appease an internet-era fandom, the fact that The Death Cure has overcome its obstacles to become a decent finale for the franchise is a miracle in itself. For eager fans of the book it’ll hopefully be worth the wait.
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