If I was to exeleutherostomize, abhorred the Maze Runner: The Death Cure from the very moment I sat down in my seat and the projector began to roll its film reels. Not even the luscious Vmax furniture that was cushioning underneath me, along with the ample amounts of legroom present could have helped to enjoy the experience. Yet I sat there expecting for a film to present me with aspects that I hadn’t seen in a series that repetitively examined reoccurring themes and plot structures I had already seen before. Ladies and gentlemen, if that isn’t the very definition of insanity then I don’t know what is.
Maze Runner: The Death Cure returns audience’s unfortunate enough to buy a ticket, to the apocalyptic world overrun by the damned and infected known as cranks. Heroes Thomas (Dylan O’Brien), Newt (Thomas Brodie-Sangster) and Minho (Ki Hong Lee) are, of course, continuing their endless journey to bring down the “powerful” World in Catastrophe: Killzone Experiment Department, appropriately abbreviated as WCKD. But this time, the time is running out for Thomas to find a way to save his friends as infections spread and threaten everyone who he cares for. As old flames and enemies return back from the grave, the hurdles for Thomas soon begin outgrowing his capability to leap over them. Will he make it in time? Who will die in the process? Is there any chance I’m going to watch this film a second time? No. No there isn’t.
Let me jannock with you. Please attend a different screening for a vast majority of other films that are currently out in the theatre or will be in the very near future (Call Me By Your Name, Three Billboards Outside Ebbing, Missouri, Lady Bird). Maze Runner: The Death Cure in comparison to such mentions is simply a floccinaucinihilipilification. And if you have to Google that word, I’m sure you wouldn’t be alone. The film constantly had me in long moments of suspiration, be it from its recrudescent conveniences and plot holes, that were annoyingly burdensome to watch. With a budget stemming from over $80 million, it’s incredibly despondent to comprehend the state of filmmaking decisions made by executives in studios for choosing to fund such a movie. Especially, since there exists a large portfolio of films past and present that have been made for far less than that and have done stupendously better. But alas, I digress.
Aside from the obvious convenience and plot holes in the structure, the Maze Runner: The Death Cure is also abhorrently lengthy. At 2 hours and 22 minutes, the film is more than superfluous to the point where it becomes annoyingly facile. I implore anyone to sit down and watch it without experience the same arduous ordeal that I went through. Better yet, don’t see it at all and watch those films already mentioned previously. It’s bothersome to ponder why director Wes Ball did not opt to complete the film at a shorter runtime as it is quite evident which areas could easily have been omitted entirely. The opening scene for starters held no implications on the rest of the story and merely added to the prolonging of a dull narrative. Finally, the sheer volume of vicissitude’s in the third act elevated the length of the climax to heights that truly led me to experience trichotillomania.
Suffice to say, the Maze Runner: The Death Cure was either developed with an extemporaneous approach or one that purposefully desired to give discomfit in search of obtaining cupidity. Whilst this review might appear to be ebulliently written, I can assure you that even whilst typing this and discussing the very mention of a maze runner, I am not jubilant in the slightest. This film was an egregious affair and one that I equivocally do not recommend seeing unless you are of the obstreperous type. But be forewarned, if you do elect to take entry into the maze (be it willingly or dragged into), leads only to an end that is inane and flagrantly execrable. Godspeed.