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The director, Wes Ball, knows how to move his camera around a futuristic medical compound, and the filmmaking brio - especially the sights of Earth’s last city, shot in Cape Town - mitigates the eye rolls prompted by the plot.
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“The Death Cure” opens with a spectacularly staged train rescue indebted to “Mad Max: Fury Road.” It continues with a few too many zombies the return of a character presumed dead a lot of sneering from an Ahab-like security officer (Aidan Gillen) a class revolt that’s essentially window dressing and some of the most homoerotic bromance in a mass release since the “Lord of the Rings” films.īut as silly as they sound, these movies are pretty well made, capable of outsize action and teary intimacy. While “Maze Runner: The Death Cure” continues the trend toward supersizing, at least it moves. (Amnesiac boys attempted to escape from a giant maze.) The draggier sequel, “Maze Runner: The Scorch Trials” (2015), added scale by sending the characters on the run. 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.
MAZE RUNNER THE DEATH CURE TRIAL
The first film - like all the entries, adapted from a novel by James Dashner - had a pleasing unity of place and action. must break into the legendary Last City, a WCKD-controlled labyrinth that may turn out to be the deadliest maze of all. Start your free trial to watch Maze Runner: The Death Cure and other popular TV shows and movies including new releases, classics, Hulu Originals, and more. Now Playing: Maze Runner: The Death Cure (Trailer 2) Summary: In the epic finale to the Maze Runner saga, Thomas leads his group of escaped Gladers on their final and most dangerous mission yet.
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Oblivious to occupying the pop-culture equivalent of the bottom half of a double bill, “Maze Runner: The Death Cure” aspires to be a grand male weepie: the “Shawshank Redemption” of “Maze Runner” movies. the teenage dystopian franchise that’s not “The Hunger Games” and the sci-fi opera that’s not “Star Wars,” returns with an almost gleefully overstuffed third installment.