This Is a Movie Review: ‘The Death Cure’ Wraps Up the ‘Maze Runner’ Trilogy with High-Octane Action and Personal Battles of Class Warfare

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CREDIT: Joe Alblas/Twentieth Century Fox

This review was originally posted on News Cult in January 2018.

Starring: Dylan O’Brien, Kaya Scodelario, Thomas Brodie-Sangster, Dexter Darden, Rosa Salazar, Giancarlo Esposito, Aidan Gillen, Ki Hong Lee, Will Poulter, Patricia Clarkson, Walton Goggins, Barry Pepper

Director: Wes Ball

Running Time: 142 Minutes

Rating: PG-13 for Zombie Makeup, a Few Puncture Wounds, and Some Explosions

Release Date: January 26, 2018

Readers, I must be upfront with you: The Death Cure is the only Maze Runner movie I have seen. I was not yet on a regular reviewing beat when the first two came out, but as the trilogy comes to its conclusion, the assignment has fallen to me. Now, I suppose I could have made time to get caught up on the first two, but I often contend that viewers can watch multi-chapter entertainment properties in whatever order they feel like. The Maze Runner franchise is probably not the best choice for doing so, as it is the type of film series that doesn’t waste any time playing catch-up for newbies. But I decided to experiment a bit and see if any enjoyment could be had amidst the confusion.

The good news is that The Death Cure’s spectacle is exciting and well-crafted enough to be enjoyed devoid of context. The opening action chase sequence of vehicles barreling towards a cliff plays like a postapocalyptic cross between the opening of Fast Five and the tank chase from Indiana Jones and the Last Crusade. It is not as death-defying or as instantly iconic as its predecessors, but it sets itself apart enough to not be overly derivative. Director Wes Ball’s only three feature films thus far are the Maze Runner trilogy, but he has proven himself technically capable to fill in any openings that may exist in the action genre.

As for the story, I was generally able to fill in what must have happened in the first two enough to follow along, and it is not exactly what I was expecting. Thomas (Dylan O’Brien) and his crew are dealing with the aftereffects of a virus that has infected most of the world’s population, leaving many zombified while those who are well-off wall themselves in the Last City. Thomas is one of a few who are immune, and he could be instrumental in developing a cure, but he does not exactly agree with the methods of those dedicating themselves to finding one. There is plenty to be gleaned here about the struggle between the 99% and the 1%, and I appreciate that that point is not underlined too hard.

It is also welcome that this series (or the conclusion of it anyway) is not too beholden to the stereotypical “chosen one” YA narrative. Sure, Thomas holds the key to saving humanity, but that fact is accidental, and it does not really have anything to do with what makes him a good leader. As for a (good) quality of this genre that The Death Cure does play into, there is its surplus of quality adult actors (Giancarlo Esposito, Patricia Clarkson, Walton Goggins, Barry Pepper) popping up in supporting roles.

Ultimately, The Death Cure is a bit too long. There is no need to flirt with two and a half hours when much of the last act involves one group chasing after another, and then that second group chasing after the first, moving along in a constant struggle to get to the last stand. But while it is a bit thick with narrative, it never lags. This is not particularly groundbreaking cinema, but it is also no cheap knockoff. It is unique enough and content enough to explore its own little world to make it worth a visit.

Maze Runner: The Death Cure is Recommended If You Like: The Hunger Games, I Am Legend, The Action Sequences of the Indiana Jones and Fast and Furious series

Grade: 3 out of 5 Infection Checks

This Is a Movie Review: Bong Joon-ho Wants ‘Okja’ the Super Pig to Be Your New Best Friend

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This review was originally published on News Cult in June 2017.

Starring: Ahn Seo-hyun, Tilda Swinton, Jake Gyllenhaal, Paul Dano, Steven Yeun, Giancarlo Esposito, Lily Collins, Shirley Henderson

Director: Bong Joon-ho

Running Time: 120 Minutes

Rating: Not Rated, But Watch Out for Factory-Grade and Mano-a-Mano Violence

Release Date: June 28, 2017 (Theatrically in New York and Los Angeles/Streaming on Netflix)

There are some people who are perfectly fine with consuming animal products, and then there are others who are staunchly vegan. If a multinational conglomerate were to engineer adorable giant pigs to cure world hunger, I do not imagine that most people would change their stances. Nor, if his latest film Okja is any indication, does Bong Joon-ho. But we are not here to focus on the masses (save for a decadent prologue that establishes that they are here to lap up whatever innovation/new species is fed to them). This is a story about a girl and her super pig, and all the zany, brainy, insane-y forces of the world that get in her way.

It might be possible to find Okja – who looks like a land-dwelling hippo with big ol’ floppy ears and a stretched-out porcine face – completely adorable and still be okay with eating bacon. I know I certainly do. Or perhaps this film will convince to swear off all pork products forever. No matter where you fall on this spectrum, it cannot be denied that Okja’s young farmgirl companion Mija (newcomer Ahn Seo-hyun) has been done wrong in so many ways. Her grandfather sells Okja to the Miranda Corporation, which will purportedly parade her around as the winner of a Super Pig contest, but of course that is just a distraction away from how the sausage is made. A visit to the factory makes it look practically genocidal. A group of activists known as the Animal Liberation Front teams up with Mija to expose Miranda for what it really is, but their motives may not fully align with each other, as Mija just wants to take Okja back home. And taking it all back to the beginning, Okja and Mija’s friendship was practically engineered by Miranda for its marketability.

Despite how grossly its animal characters are treated, Okja is not about shaming its audience. Its purpose is holding up a cracked funhouse mirror to global capitalism. Or is it just a normal mirror? In which version do we ravenously consume faces and anuses? (They’re American as apple pie!)

Befitting a Bong Joon-ho film and a world in which people feel that they can get away with anything, the production design is a beautiful and lavish rainbow, but also probably extravagantly wasteful. The characterization is similarly outsized, with the heroes, villains, and half-hero/half-villains alike displaying a range of delectable behavior. As the braces-wearing Miranda CEO, Tilda Swinton is an anxious mix of demonstrating her power and proving that she does in fact have power. Her underlings include the preternaturally calm Giancarlo Esposito and the bizarrely squeaky-voiced flibbertigibbet Shirley Henderson. Jake Gyllenhaal is deep in character work as usual as a sweaty, shorts-sporting zoologist TV host. And as the head of the ALF, Paul Dano offers up scary commitment. His brand of ethics is admirable, but not above violent enforcement. Okja asks: do we really want to free the animals if it requires such militancy?

When the film gets into specifics, though, the questions are never that simple. It all rests on the shoulders of little Mija, who has the most clear-cut motivation of anyone. Her focus and resolve allow her to achieve her purpose, but it is not clear that that result makes the world a better place. What do we make of life when every individual story is a MacGuffin?

Okja is Recommended If You Like: Orphan Black, Free Willy, The Hunger Games

Grade: 4 out of 5 Magical Animals