The series offers flimsy comedy, half-baked characterizations, and a dubious romantic subplot.
Emotional complication might have elevated Maze Runner: The Death Cure out of its programmatic torpor.
Every set piece brings to mind an Epcot Center attraction built from borrowed parts, and on a CW show’s budget.
A genre mishmash cobbled together from the refuse of disparate visual and narrative modes.
Wes Ball’s film is at its best when its characters are in motion, the world around them revealed as temporary, unstable, and always in flux.
Writer-director Barry Battles’s film revels in hicks-ploitation sleaze.
Ian Fitzgibbon’s film sidesteps most of the potential pitfalls of sentimentality inherent in its premise.
The tempered historicity of the film occasionally descends into facile myth.