Maze Runner: The Death Cure

Director Wes Ball fails to generate any emotional resonance with this premise, though some of the action sequences are exciting.

The intrigue of the first part, the fascinating design of the maze and the interplay between the characters trapped in the Glade have been eroded over the subsequent parts to end in a most unsatisfactory way.

It's efficiently done and there moments in it that are arresting... [but] have we now done with this particular cycle of films? Because I think we all have.

[Director Wes Ball] wisely bookends that introductory sequence with a bittersweet, meditative coda that allows Thomas, and the audience, to measure his losses.

The things that really should have made [Thomas] change and evolve as a character feel like background elements at times.

Oh, come on! You're not even trying here.

Both formally and narratively, The Death Cure feels like a patchwork, Frankensteined together from better material.

A bombastic blast that sends the series off on a high note.

Features lots of ominous music, attractive stars in motion, dusty dystopian landscapes and something gets blown up or shot at every 10 minutes or so. What's missing is the emotional content that might make you care about it.

The excitement never quite matches the very first scene.