The Maze Runner

The film The Maze Runner is based off the three book series written by author James Dashner.

As post-apocalyptic films adapted from YA novels go, and there have been many, The Maze Runner might be the most successful of the 2014 year.

The film opens on a young teen, seemingly kidnapped against his will and unclear of what he is doing. His body, limp on the floor of a openly woven caged box, rises up to the sun and grass where he promptly meets a crowd of his peers, all male. Talking with them he discovers he is exactly like them, unknowingly in this location, his memory erased with only his name available to him, it is Thomas.

He soon discovers the grassy area's perimeter is completely encapsulated by steeply high concrete walls, beyond which is a maze. The goal is to figure out the maze as it is the only way to freedom.

The Maze Runner uses young up-and-comer actors and actresses rather than the obvious and nepotistic decision. Dylan O'Brien does a superb job as the newbie Thomas and Aml Ameen is especially captivating as the leader of the stranded survivors Alby. The primarily British young actors also do a splendid job of masking their native accents for a neutrally American vocal pattern.

Further, Wes Ball's direction of The Maze Runner has a clear vision as it emulates a vastly PG-er Lord of the Flies vibe. The beauty of the film is its simplicity. Since the children and teens are locked in an experimental cage, there is no need for monotonous information delivery regarding the futuristic world. There's no futuristic dialect, class system, government changes or anything of the type.

My immediate thought while watching The Maze Runner was just how close the whole premise was to Vincent Natali's sci-fi horror Cube (1997), both films featuring a group of people who wake to find themselves in a strange environment with no memory of how they got there. The big difference is that, where Cube was a brilliantly executed low-budget thriller with nail-biting tension and a thought provoking ambiguous climax, The Maze Runner is a mega-budget blockbuster that, for much of its running time, moves like molasses, and which ends leaving questions that we know will be answered, just so long as we shell out more cash to see the next couple of instalments.

Obviously, at 47 I'm not exactly in the intended demographic for this film, but I do feel that this one missed the opportunity to be a hugely entertaining adventure for all ages. When the characters are in the maze, running for their lives from the grievers (metallic insectoid monsters), or dodging the changing architecture, the film is actually very enjoyable, but far too much time is spent in the relative safety of 'the glade', the idyllic green area at the centre of the maze where the boys first wake up. With my son currently reading the series of books, it's almost certain that I'll have to watch the sequels; I just hope that they make it a little more exciting next time around (and don't cut the film to reduce the UK rating to a 12 certificate. Grrrrrr!).

5.5/10, rounded up to 6 for IMDb.

I can see I am in the minority here, but, to be honest, I found the film to be quite intriguing and exciting. I went into the movie "cold", not having read the novel by James Dashner or knowing very much about the plot. For me, this was the type of film that I knew if I just went with the flow and didn't try and look for all the holes in the story and script that I'd be better off.

The way the film was presented by first time director Wes Ball was top notch, as I felt I was right there in the maze with the main characters. The obvious set-up for a sequel at the end of the movie didn't bother me too much as it seems like every movie of this type "has to" have at least one.

In summary, I found this movie to be very absorbing and kept my interest throughout.

Not bad!

The good performance of some actors, special effects and the mystery of the environment in which they found themselves is enough to keep the audience interested. It also has a good direction that didn't put the typical teenage romance, that can be so tiring.

However, in my opinion, "The Maze Runner" is unable to get it to be thrilling.The film comes to an end without knowing the answer to several questions in order to make room for the second film.

So I will be waiting for a new episode and news surprises from Wes Ball and T.S. Nowlin in "Scorch Trials" :)

It's rare for a big movie studio to trust the future of a potential blockbuster franchise to a brand-new director. You'd imagine that there would be just too much at stake when it came to translating James Dashner's series of best-selling dystopian novels to the silver screen. But it's easy to see why Wes Ball got the job - with this one film, he graduates from short films to blockbuster movies with flair to spare. Indeed, The Maze Runner is such a cool, confident and thrilling blend of action beats and character work that it's hard to believe Ball has never before commandeered a full- length feature film. It's true that the narrative gets a little away from him by the end, making less sense as more secrets are revealed. But this is more a problem with the source material than Ball's own skills as a director.

Thomas (Dylan O'Brien) finds himself thrust rudely into the world of the Glade: a community of boys who have figured out how to live while encircled by a giant, constantly changing maze, within which dwell giant, boy-eating monsters known only as Grievers. Many of the boys, including benevolent pioneer Alby (Aml Ameen) and champion of the old ways Gally (Will Poulter), are content with just surviving day to day. Thomas winds up unsettling the entire camp with his refusal to follow the rules and determination to ask questions: he wants to explore the Maze with designated runners like Minho (Ki Hong Lee), and figure out a way to get free. Life in the camp gets more complicated when, weeks before the next boy is due to be sent up to the Glade, a girl in the form of Theresa (Kaya Scodelario) arrives instead.

There's a lot of blockbuster potential to be squeezed out of this premise, and Ball does so quite wonderfully. The Maze encircling the Glade is a stonily grey, massive enclosure, and the Grievers - when the boys encounter them in increasingly close quarters - are odd marvels made as much of machine as flesh. Ball cuts scenes of great, heart-stopping tension together masterfully: whether it's Thomas running through walls that are fast closing in on him, or Thomas and Minho trying to outrun a Griever while burdened with an unconscious Alby.

The film even finds some welcome dramatic depth in this strange little community of lost boys in the Glade - Thomas' growing antagonism with Gally is balanced against the mutual respect he and Newt (Thomas Brodie-Sangster) develop for each other, and the brotherly connection that he forges with the adorable Chuck (Blake Cooper). The politics of the situation is fascinating as well: as much as The Maze Runner is about, well, running for your life in a giant maze, it also raises big questions about identity and integrity. Is safety and security worth giving up your right to information and choice?

What works less well is the secret around which the Glade is constructed. As viewers, we aren't given a whole lot of answers about why the Glade and the Maze exists, nor do we get many explanations as to why Thomas is so different and insatiably curious. But the ones we do get - all centred around the mysterious, severe figure of Ava Paige (Patricia Clarkson) in some kind of control centre - oddly render the film and its characters less, rather than more, interesting. It's a strangely deflating experience to have the film's rich ethical dilemmas and intense action sequences give way to an underlying dystopian narrative that isn't really all that compelling.

Nevertheless, The Maze Runner remains quite an accomplishment. It's an assured, impressive debut for Ball, one with enough electric tension and moody drama to intrigue throughout its running time. His young cast is fully capable of carrying their own weight, with Poulter - morphing from comic sidekick in We're The Millers into hateful adversary here - the standout. Its story collapses a little into itself as it hurtles towards its climax, but Ball's work is quite enough to leave viewers excited by the prospect of the inevitable sequel.