In the epic finale to the Maze Runner saga, Thomas leads his group of escaped Gladers on their final and most dangerous mission yet. To save their friends, they must break into the legendary Last City, a WCKD-controlled labyrinth that may turn out to be the deadliest maze of all. Anyone who makes it out alive will get answers to the questions the Gladers have been asking since they first arrived in the maze.
“It’s a heist movie this time,” says director Wes Ball, who has helmed each of the movies in the trilogy. “It picks up six months after the last movie, where we started in the desert, and then we come into the world of WCKD, which is a city: The Last City.”
The series started in the Glade, a lush open space surrounded on all sides by giant walls, and beyond them the maze that kept them prisoner. For the group of young people trapped in the Glade, with no memory of who they once were or why they were there, breaking out was their first priority.
“But now, they’re breaking into walls, almost an inverse of the maze, and they have to get answers and outmaneuver every obstacle thrown their way,” Ball says, “We get to see the other side of the universe and come full circle.”
And just as The Maze Runner offered lush greens framed by the decaying concrete walls of the maze, and Maze Runner: The Scorch Trials gave us vast, inhospitable desert ruins, so Maze Runner: The Death Cure is set to its own aesthetic and color palette.
“The first film, with the maze, was all cement and overgrowth,” observes Ball. “The second story was the sand and rust of the Scorch and this film is a world of glass and steel. I’d say it has elements of sci-fi and film noir—I loved the idea that each one of these movies has a distinct look and feel, but that they all fold into this same universe.”
Maze Runner: The Death Cure opens January 24, 2018 in Philippine cinemas from 20th Century Fox and distributed by Warner Bros.
