A section of the Maze crushes some of the people. While Thomas is instructing the large group, however, the Right Arm’s explosives begin to detonate. They break people into groups of fifty or so, so that a Glader can lead each group to the Flat Trans and safety. They find hundreds of Immunes in there, which is far more than they expected. Thomas and his friends go back to the Maze. They find Brenda, Minho, Jorge, Teresa, and Aris. Thomas finds Gally and Vince, and Vince angrily says Thomas will have to hurry if he wants to get the Immunes. They don’t even care about the Immunes who are still waiting in the Maze. Thomas realizes that the Right Arm has the darker mission of only destroying the organization, and not taking over. The Right Arm members tell him that they are all currently planting explosives to bring down all of WICKED. As Janson runs after him, crazed, Thomas realizes that Janson has the Flare–that is why he is so desperate.
In order to get away, Thomas throws the knife at the associate and kills him. Janson holds a knife and tries to hurt Thomas, but Thomas overpowers them both. As he creeps out of the building and sees the hole that the Right Arm’s explosion has caused, he is suddenly caught by Janson and an associate. Thomas realizes that the Immunes are hidden in the Maze. Her letter includes instructions to take the Immunes with him and go through a Flat Trans to a better place. She thought that the Trials were over, and that this last step was not necessary. The letter is from Chancellor Ava Paige, who says that she called off his procedure. However, when he wakes up, he is still alive. Just then, the alarm goes off–the Right Arm has arrived.
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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.After a while, as Thomas waits for his friends and the Right Arm to arrive, the doctors come to force him into the procedure. “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. The first film - like all the entries, adapted from a novel by James Dashner - had a pleasing unity of place and action. 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.