Will There Be A Fourth Maze Runner

• The Maze Runner Book

Joe Alblas The action-adventure franchise based on James Dashner’s post-apocalyptic young-adult novels enjoyed a nice groove with the first two movies, even surpassing the hit Hunger Games in quality. Then an accident happened with main Maze star Dylan O’Brien on the Death Cure set, shutting down production and causing a delay of nearly a year, slowing that momentum. Thankfully, O’Brien is back as heroic youngster/chosen one Thomas, throwing himself into derring-do yet also dealing with moral quandaries in Death Cure (★★½ out of four; rated PG-13; in theaters Friday). But while the third chapter is certainly entertaining — and quite explosive — it has definitely lost some steam. More: Dylan O'Brien says 'Maze Runner' no longer 'tainted' by set injury Also: How Dylan O'Brien leaned on his dad to pull him through 'American Assasin' This one's an overlong affair that other books-to-movies franchises probably would have tried to stretch into two projects.

So will there be another Maze Runner movie, or is this it for the Gladers? Currently, there are no known plans to continue the franchise with a fourth movie. Critics were favorable to Maze Runner, but less so when it came time to watch the second film Scorch Trials. Still, both films went on to make over $300 million worldwide.

There’s just not enough stuff to warrant a fourth film, and too much exposition to wrap up in two-and-a-half hours. After escaping a dangerous maze in the first film, Thomas (O’Brien), Newt (Thomas Brodie-Sangster) and friends navigated the desolate hellscape of what’s left of America in sequel The Scorch Trials, the result of the Flare virus that zombified most of the population. Safely holed up behind gigantic walls in a Utopian metropolis known as the Last City, the organization WCKD is working on the cure, though in a most villainous way: engaging in horrifying tests on teenagers like Thomas who are immune to the disease and also playing God in determining who's worth sacrificing for the greater good. 20th Century Fox The bright lights and high-class civilization of Last City contrasted with the rising furor of the unwashed masses outside gives Death Cure a whiff of culture-war relevance for anybody paying attention to the news lately. Thomas needs to break his old pal Minho (Ki Hong Lee) out of WCKD’s clutches, and in doing so comes face to face with love interest Teresa (Kaya Scodelario), who seemingly betrayed Thomas and her friends to work with the bad guys at the end of Scorch Trials.

Director Wes Ball opens the new film with a speeding-train heist and later unleashes falling buildings, riotous chaos, airborne buses and more action-film extravaganza than in the previous Maze Runner films. Yet the tighter storytelling of those chapters ultimately comes undone in Death Cure with its glut of characters and various plot threads. Related: Final 'Maze Runner' kicks off a busy year of young-adult movie adaptations Earlier: 10 must-see films of 2018, from the new 'Fantastic Beasts' to 'Mary Poppins' The core group of young cast members lends a rugged vibrancy to the familiar zombie violence and 'down with The Man!' Revolution, and the old folks aren’t too shabby either.

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Giancarlo Esposito’s resistance leader Jorge and Patricia Clarkson’s complicated WCKD guru Ava unfortunately don’t get enough to do. But Aidan Gillen oozes punchable antagonism as Ava’s No. 2, Janson, and Walton Goggins shows up as a noseless, scarred underworld figure so freakily magnetic that you immediately want to spend the rest of the movie hanging with him. While the final Maze Runner is a rough go at times, it nevertheless sticks the landing, with a forgivable bit of wobble.

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As young-adult franchises go, The Maze Runner has always had a grab-bag, bargain-bin quality to it. There’s a little bit of something for everyone—a wicked corporation (that’s conveniently named “WCKD”); a post-apocalyptic society choked with hordes of roving zombies; a futuristic city housing the elite; a love triangle; and a cornucopia of middle-aged character actors surrounding our teenaged heroes. As its final edition, The Death Cure, rolls into theaters, it’s hard not to be impressed by the sheer amount of content packed into The Maze Runner trilogy, if by nothing else. We’re only six years removed from the release of the first entry in The Hunger Games, the film franchise based on a series of dystopian young-adult books that inspired a slew of Hollywood imitators—including the Divergent movies and the on Lois Lowry’s The Giver. But in 2018, The Maze Runner seems almost charmingly outdated, a veritable throwback in today’s accelerated Hollywood climate. Plucky kids defying their futuristic corporate overlords might be yesterday’s news, but there’s one last maze for our heroes to solve. The first Maze Runner, released in 2014, was set entirely within—you might want to sit down for this—a huge maze, populated by a coterie of athletic young male amnesiacs.

The protagonist Thomas (Dylan O’Brien) was dumped into the labyrinth without his memory, and bonded with fellow “runners” like Minho (Ki Hong Lee) and Newt (Thomas Brodie-Sangster) as they tried to solve the mystery of their giant prison and did battle with horrifying techno-organic monsters. It turned out (spoiler alert) that the maze was a gigantic science experiment run by WCKD, a company searching for the cure to a world-ending plague. In the second film, 2015’s The Scorch Trials, things got appreciably bonkers. The real world outside the maze was an Earth ruined by a solar flare, crawling with mutants (called “Cranks”) infected by the so-called Flare virus and governed by WCKD, a bunch of finely coiffed scientists who wear white smocks (never a good sign).

Despite being the second entry in a mid-budget young-adult trilogy, The Scorch Trials was a surprisingly good piece of cinema, a high-octane, two-hour chase scene through deserts, ruined cities, and eerie laboratories. The film saw Thomas and his pals try to escape WCKD and ally with resistance fighters led by Jorge (Giancarlo Esposito). Now that you’re all caught up, we can delve into The Death Cure, which has arrived three years later, after O’Brien suffered a on set that delayed production. At a hefty two hours and 22 minutes long, The Death Cure isn’t quite as propulsive as its predecessors—like any franchise finale, it has a lot of wrapping up to do. It’s also not quite as inventive with its set pieces as The Scorch Trials, which used its apocalyptic environments in surprising ways. But if you’re looking for a tale of morally ambiguous teen triumph, you could certainly do worse.

One of the appeals of the world of The Maze Runner, based on books by James Dashner and brought to the big screen by the director Wes Ball, is that the dystopia is not entirely man-made. Unlike The Hunger Games or Divergent, a monstrous autocracy is not responsible for all the world’s ills. WCKD is a nasty bunch, doing its creepy social experiments on teens, but its goals—trying to cure a global disease—are noble, even if its means are anything but. So as Thomas and his friends attempt to break into WCKD headquarters in The Death Cure to get to the bottom to things once and for all, ethical gray areas abound.

The Maze Runner Book

Three movies in, Thomas remains an irritatingly blank slate, a generic hero-type for viewers to project themselves onto. The women around him are much more interesting—there’s Teresa (Kaya Scodelario), a steely former ally who is now back in the WCKD fold hunting for a cure, and there’s Brenda (Rosa Salazar), a spirited resistance fighter who amounts to the Han Solo of the series, equal parts spunky and sarcastic. The veteran actors around them—Esposito and Barry Pepper (as rebel heroes) and Patricia Clarkson and Aidan Gillen (as WCKD scientists)—are more than up to the task of injecting a little gravitas. But so much of The Death Cure’s plot is invested in tying up loose narrative ends (who pairs up with whom, etc.) rather than digging into the deeper implications of WCKD’s fight against the Flare. Some of The Death Cure’s set pieces—including a subterranean chase scene with a group of zombies and an extended heist that takes place on a moving train—stand out amid the chaos. And yet as the final act succumbed to dull, apocalyptic formula, I saw an entire sub-genre slip away with it: The Death Cure is a grim, half-hearted farewell to this wave of young-adult dystopias. We want to hear what you think about this article.

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