MOVIE REVIEW: Maze Runner: The Death Cure

MAZE RUNNER: THE DEATH CURE (2018)

GOING IN

Better late than never, right? A year after its original release date, Wes Ball’s final installment of his Maze Runner trilogy is here. Thankfully, star Dylan O’Brien has fully recovered from the serious injuries sustained while filming and is ready to bring this high octane franchise to its riveting conclusion. James Dashner’s series has always been one of my favorite Young Adult dystopian trilogies. I read each one as they came out, and vividly remember waiting in line at midnight to pick up my copy of The Death Cure. I read it in one sitting that day and mostly enjoyed the way in which the story wraps up for Thomas, Teresa, and the Gladers. Maze Runner: The Death Cure will follow the remaining escapees as they try to save their friends from the legendary Last City, which of course is under WCKD control. Thus far Wes Ball has done a solid job, with the previous entries being his only feature length films to date. I’m excited to see how the film story plays out differently than the books and optimistic that this will be an exciting adventure right up to the last minute.

2 Hours and 20 Minutes Later.


COMING OUT

Last year (2017), movie fans were treated to the final film of a rare trilogy that got better with each successive installment. Granted, the Planet of the Apes series was not based on young adult books as is The Maze Runner Trilogy, but it provided an example of just how good progressive storytelling can be. After Wes Ball’s hot start with the claustrophobic and mysterious thriller The Maze Runner, book two’s adaptation of The Scorch Trials was just another race and chase action film adding very little complexity and character depth. And unfortunately, taking the opposite trajectory of that incredible aforementioned series, The Death Cure does not in fact bring this series back to life but instead sends it off in an explosive, fiery, forgettable mess.

Let’s get one thing out of the way up front. Book fans – this is not the adaptation you probably expect. A good 75% of the story has been changed and the parts that do remain are out of order and have a much different feel to them. One of the most important facets of James Dashner’s novels is that Thomas and Teresa (and Aris later) can communicate telepathically. This was understandably removed from the adaptations because it would have been a nightmare to try and show cinematically. However, in doing so the story is stripped of an enormous amount of emotional depth and relationship building between the two leads that is never adequately replaced. In fact, there is so little movie reason given for Thomas to be relentlessly in love with Teresa that it makes the events of this final film fall very, very flat. And speaking of Aris? After an important introduction in film two, he all but disappears completely in The Death Cure. Other book character changes abound, with new ones being inserted or old ones altered completely to fulfill the different story requirements of the film series. Wherever you stand on how accurate book-to-movie adaptations should be, just know that the changes made in The Scorch Trials have been double-downed on. This is no longer The Death Cure story you know, complete with a different ending, which makes one wonder why a book series is adapted at all if the changes are going to be this glaring.

Unfortunately, even removing a desire to see the story as it was written originally, Ball’s third film still isn’t very good. The story as told is extremely generic with almost nothing unexpected taking place. The film begins with an incredible train action scene and then quickly plunges into over an hour of drama. It’s this section that hurts the film immensely and turns it into a bit of a bore. Thomas (Dylan O’Brien) has never been more moody, brooding, and pouty. Teresa (Kaya Scodelario), likewise, goes through the entire film with almost the same facial expression. The two form one of the most emotionless pairs I’ve ever seen. There are a few scenes in the film that did evoke some feelings, but none of them coming from the main characters is a problem. Instead it’s Newt (Thomas Brodie-Sangster) and Brenda (Rosa Salazar) who are genuinely intriguing characters and stand out as the best performances of the film, as well as worthy of the most feels. Sadly, their strength just further shows the weaknesses of the leads so enjoyment is offset by disappointment. And when it comes to villains, Janson (Aidan Gillen) is about as cookie-cutter as they come. Gillen’s role in this series was clearly increased due to his rising fame from Game of Thrones, and I’m not a fan of his performance at all.

Eventually the film shifts back into pure adrenaline-fueled action, which Wes Ball has shown he can do well. The finale is chaotic in that everything-must-blow-up-because-bigger-is-better way. There are definitely some great (and dangerous looking) practical effects, but also plenty of moments that push the boundaries of realism so far into ridiculousness that it’s hard to take seriously. Where in the past Ball seems to have shown some restraint, there is none to be found here, and the movie is worse for it.

VERDICT

The Maze Runner is a series that offered so much potential, but Wes Ball’s final installment does not earn the emotional stakes its conclusion hinges on. Though I still believe Dylan O’Brien can be a star, his lack of range in this performance does leave me a little worried. I can’t help but compare this adaptation to its source material, where it uses the same characters to tell a much more interesting story, but even when taken on its own merit The Death Cure just isn’t that interesting. It’s too long, with a weak melodramatic center, and overly frantic seizure-inducing action that is the worst of the series. Fans of the series should probably still check it out, and may come away with a slightly better experience, but don’t hope for much more lest you be as disappointed as I am.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: 12 Strong

12 STRONG (2018)

GOING IN

12 Strong is a film based on Doug Stanton’s non-fiction book Horse Soldiers, that dramatizes the true story of a U.S. Special Forces team who deployed to Afghanistan in the wake of the attacks on September 11, 2001. They were some of the first American military to engage in unconventional warfare against the Taliban and al-Qaida forces. As the title of the book and all of the film’s marketing shows, this group in particular used horses as part of their fight against enemy forces. Chris Hemsworth leads an interesting casts that includes Michael Shannon (who I don’t see as a special forces soldier), Taylor Sheridan (in his first acting gig since becoming a hot new writer/director), Trevante Rhodes (coming off an incredible performance in Moonlight), Michael Peña (most likely for some comedic levity), William Fichtner, and more. The film is directed by Nicolai Fuglsig, a former war photojournalist making his directorial debut, which means it should at least look good. I also expect the film to be rousing and patriotic, and as someone who was serving in the military and stationed in the Middle East at the time of the attacks, it will probably be quite affecting regardless of quality.

2 Hours and 10 Minutes Later.

COMING OUT

9/11 is one of those days that most everyone can remember in vivid detail. Each year on Patriot Day, it is common to hear the question “Where were you when…?” whispered around the office as co-workers somberly reflect on the tragedy of the World Trade Center attacks and share their stories, additionally observing a moment of silence at 8:46 am. It is nearly impossible to not feel those emotions of grief and sadness again, as we collectively remember those who lost their lives because of hate. And so, early in 12 Strong when footage of the crashes is shown, I’ll freely admit to immediately becoming emotionally invested. Then we are introduced to some of the soldiers that make up the team at the center of this story, and we watch as they struggle with feelings of anger and rage. They want payback, and they want it now. They know that it means leaving their loved ones, but these are men of ideals and they must fight. Again, emotion washed over me as I remembered my time in the Middle East, learning of the attacks and then sitting in my off-base apartment armed and watchful as demonstrations took place at a local mosque across the street. I, too, wanted payback. 12 Strong begins by presenting us with this background and bringing us back to that moment that we realized safety on our own soil was no longer a guarantee. It is a powerful and evocative opening act.

At the heart of 12 Strong, as with most good war films, is brotherhood. Captain Mitch Nelson (Chris Hemsworth) leads a Special Forces team that includes many men older and with more combat experience than himself. He is fiery and determined, though, and his natural leadership has them gladly follow him into a dangerous mission as the United States seeks to work with a local Afghan warlord to take a key city back from Taliban. The one thing that will quickly sink any war film for me is an inaccurate portrayal of military life. Thankfully, the team is shown in way that is very reminiscent of my own experience, effectively capturing the camaraderie that exists between these men who must rely on each other for their very lives. Also accurately shown is the way in which Chief Warrant Officer Hal Spencer (Michael Shannon), the grizzled vet, supports and provides advice for Nelson, understanding the role in leadership that he has and helping the young officer to make wise choices. The relationship between the entire team is a joy to see, but there is a special bond between Nelson and Spencer – a strong mutual respect. At one moment as the men are about to embark on their mission, Spencer muses “It’s a hell of a thing we do. How do you love your family and leave them to go to war?” Honor, of course is partially the answer, but brotherhood sure makes it easier.

Once in the mountains of Afghanistan, Nelson and the team meet up with General Dostum (Navid Negahban) who serves as a guide and provides his army to help the Americans regain control of the city for them. Negahban’s performance is wonderful and was the surprise of the film, outshining the solid work by Hemsworth, Shannon, Peña, and others. Dostum and Nelson must learn to work together in what starts out as a tenuous relationship but ultimately provides a great example of what it means to grow to trust one another. What 12 Strong does differently than so many films set in this era is use this relationship to remind us of the Aghani people who were victims of al-Quaida and the Taliban themselves. General Dotsum is a truly great man who led his people in opposition of the Taliban and went on to become Vice President of the country in 2014. Here we see why, as he mentors Captain Nelson, teaching him the difference between a soldier and a warrior, and forming a bond that has grown into a lifelong friendship between the two men. This relationship as depicted in the film was probably my favorite aspect, and amidst the chaos of war it provided some dramatic character depth and an arc of growth for Captain Nelson.

The one thing that I dislike most about 12 Strong is the choice to include a villain. Around the beginning of the second act we are introduced to the Taliban leader who has taken control of the city and are shown examples of the horrific way in which his group operates. I did not feel this was necessary because we have enough real-life motivation to root for our heroes already. His addition was a distraction somewhat during the action and removing him might have trimmed off 10 minutes or so and made the film feel a little tighter. His inclusion doesn’t sink the film by any means, he just felt a little out of place.

Technically, the film has many strong qualities, chief among them the sound design. Gunfire and explosions sound crisp, real, and terrifyingly close. Cinematography is also very good, which is not surprising given the director’s photographic background. The film is full of beautifully framed shots, the likes of which you would see in a magazine from a wartime photojournalist like Fuglsig, but there is also an inconsistency to this that shows his lack of directing experience. Mostly the film looks and sounds great, with a near non-stop pounding score escalating our heartbeats in rhythm with the tension and action playing out on screen. It’s also a relief to see that the horses are not used as a gimmick at all, but their place in the story feels genuine and realistic (with the exception of one slightly unbelievable, but awesome, action scene).

VERDICT

12 Strong is a tight, tense thriller that retells an incredible story in American war history. It focuses as much on the diplomacy needed between the U.S. and Afghanistan as it does the incredible battles with Taliban fighters to show a well-rounded picture of how the two nations worked together to accomplish their mutual goal. This is not a propaganda film, but it does evoke powerful emotions related to memories of a terrible tragedy, and especially so for those who left their own loved ones to take up the fight themselves. Anchored by strong acting performances across the ensemble cast and without relying on manipulative fake motivational speeches, 12 Strong shows how loyalty works in a military brotherhood, and how powerful it can be. Many elements of the film may feel somewhat generic, but the emotional resonance can’t be ignored, and make this one definitely worth seeing.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

Minisode 32: Three Kings

Dark-comedy, scathing political satire, drama about human nature, or all of the above? David O. Russell’s Three Kings is a mixture of tones with a lot to say about the Persian Gulf War wrapped in an often funny, sometimes brutal adventure story. We dig in to this November Donor Pick and see if we can find the gold within.

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Dark-comedy, scathing political satire, drama about human nature, or all of the above? David O. Russell’s Three Kings is a mixture of tones with a lot to say about the Persian Gulf War wrapped in an often funny, sometimes brutal adventure story. We dig in to this November Donor Pick and see if we can find the gold within.

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Join the Facebook Discussion Group

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Intro/Outro Music – “Air Hockey Saloon” by Chris Zabriskie

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Episode 083: Black Hawk Down

This week, in honor of Veteran’s Day, we are talking what we consider to be one of the most affecting war movies ever made, Black Hawk Down, Ridley Scott’s adaptation of the Mark Brown account of the 1993 Battle of Mogadishu. This episode is a bit more somber than usual because there is nothing funny about this film. It is unflinchingly brutal in its depiction of war and its effect on those who wage it. We have a frank discussion about the ferocity of war, courage, and ultimate sacrifice.

Black Hawk Down Review – 0:01:29

The Connecting Point – 01:28:23

Mogadishu Mile Memorial Run: https://www.facebook.com/Mogadishumile/

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Intro/Outro Music – “Air Hockey Saloon” by Chris Zabriskie

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Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!

Feelin’ It: The Zookeeper’s Wife Review

Rating:

The Zookeeper’s Wife, baed on the novel by Diane Ackerman, recounts the true story of Antonina and Jan Żabiński, and how they secretly used the Warsaw Zoo to save over 300 Jews who had been imprisoned during the German invasion of Poland in 1939. Tackling the Holocaust is no new thing for Hollywood, as dozens (if not hundreds) of films and documentaries exist, telling the stories of those who suffered in the world’s greatest genocide. It might be easy, in fact, to brush aside The Zookeeper’s Wife, and assume it cannot reach the greatness of films like Sophie’s Choice, Schindler’s List, Life is Beautiful, or The Pianist. But that would be a mistake.

The first thing you’ll (hopefully) notice, during the credits, is that this film is written/adapted and directed by women. Niki Caro helms the co-written project by original author Diane Ackerman and Angela Workman. Considering the story is based on the discovered journals of Antonina Żabiński and told mostly from her perspective, these are fantastic choices. If you haven’t heard, Hollywood has a real problem when it comes to opportunities for women, and The Zookeeper’s Wife is a perfect example of the great movies we can get when talented female artists are provided the chance to shine.

What makes The Zookeeper’s Wife stand out in a crowd of Holocaust-themed films is its blend of genre and style. A large portion of the movie’s opening is spent getting to know Antonina and Jan Żabiński. We are given the chance to connect with why this zoo is so important to them and really get a feel for their character – the same traits that will eventually lead them to caring for needy Jews instead of animals. The movie’s focus on the zoo early on will make animal lovers very happy. As the film progresses it has sections that feel very biopic in nature, while others are dramatic, and yet other scenes capture a real sense of war (with some stunning cinematography by Andrij Parekh). One gorgeously shot scene of note has a family being surprised by the snow they notice on a hot summer’s day, only to realize as it falls around them that it isn’t snow at all, but ash, something indicative of a nearby tragedy. This powerful, emotional moment is one of several in the film where its iconic imagery will become burned into your mind as you recall the feelings you experienced when seeing it on screen. The film also does not shy away from the horror of what Nazi Germany did to the many Jews of European nations. There are a few gasp-worthy moments but nothing too bloody. Be warned – animals do perish, and sometimes in heartbreaking manner, so young viewers who may be affected by seeing this should probably avoid this film.

Jessica Chastain leads a slew of great performances and exhibits an elegant strength that is perfect for this period setting. Her male co-stars are all up to the task, Daniel Brühl displaying a selfish disregard for both animal and human life while trying to outwardly proclaim that he has a soul, and Johan Heldenbergh tortured by his need to help others and fear of what this strain may do to his marriage.

The Zookeeper’s Wife is an incredible story. It’s portrait of empathy for the marginalized and oppressed comes at a time when the world really needs to see it. The Żabińskis were not Jews themselves, but sacrificed greatly to fight against injustice simply because it showed up on their doorstep one day. Their efforts saved many lives and the film captures the emotional swings of this so well. This is an inspirational film well worth seeing and learning from, just don’t expect a dry eye while doing so.

Emotional Takeaway: RADICAL COMPASSION

Khen Lampert identifies compassion as a special case of empathy, directed towards the “other’s” distress. Radical compassion is a specific type of general compassion, which includes the inner imperative to change reality in order to alleviate the pain of others. This state of mind, according to Lampert’s theory, is universal, and stands at the root of the historical cry for social change. This is exactly what we see from Antonina and Jan Żabiński in The Zookeeper’s Wife. It is tragic and rage-inducing to see the what Nazi Germany did to Poland, but the takeaway here is that when people step up and forego their own safety and comfort to put others first, lives can be saved and history can be changed. See this film because it is a very well-made movie that tells a compelling story through great performances and technical mastery, but walk out of it with a renewed purpose and outlook on life outside of your personal bubble.

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