|Directed by||:||Wes Ball||Produced by||:||Ellen Goldsmith-Vein, Wyck Godfrey, Marty Bowen||Screenplay by||:||T.S. Nowlin||Based on||:||The Death Cure by James Dashner||Starring||:||Dylan O'Brien, Kaya Scodelario, Thomas Brodie-Sangster, Nathalie Emmanuel, Giancarlo Esposito||Cinematography||:||Gyula Pados||Production company||:||Gotham Group Temple Hill Entertainment|
The Maze Runner trilogy finds itself in a tough spot. It hasn’t ever come close to achieving the success of, say, the Harry Potter series – although no film series based on kids’ books has, really - but it’s worth pointing out it hasn’t been as disastrous as the Divergent Series either. Realistically, for the Maze Runner movies, even touching the Twilight Saga and the Hunger Games films seems aspirational at best.
Based simply on this information, the very fact that Maze Runner: The Death Cure exists – considering especially the unfortunate circumstances surrounding its production (more on that later) – makes it deserving of at least a firm handshake, or an awkward bow, or maybe even a hug. By most standards, finishing a young adult film series in today’s day and age seems to be as impossible a proposition as a parent commanding an actual human teenager to obey their most unreasonable demands and succeeding.
So for that, for overcoming increasingly difficult odds, for meeting the exact specifications that make Hollywood executives shudder with uncertainty – mid-budget YA sequel of a mid-range franchise staring at a dwindling fanbase – Maze Runner: The Death Cure is, at least for the folks that grew up with it, a satisfactory conclusion.