At various times, Thomas becomes tired of hearing about it. It adds to the horror of their situation: these children never got a chance to be children.Īt numerous times in the novel, the importance of order in the Glade is spoken of. By allowing the Gladers to employ "adult" language without themselves being adults or risking censorship, Dashner is able to place these teenagers in perilous situations for which they are otherwise ill-prepared. The slang matches the harshness of the world the Gladers inhabit. Second, the author notes that the slang allowed the book to be read by young adults and teens without being banned by schools for offensive language. Post apocalyptic dystopian novels and films tend to take place in the near or distant future as a sort of warning of what may befall humanity if we maintain the course we are on. As posted by the author on his blog,, the Glader slang allows the reader to understand that the story takes place in a time very different from our own. Why do you think Dashner invented such terminology for them to use? How does it affect the manner in which the story is told?ĭashner's own comments on the particular lexicon of the Gladers reveals that the author had two intentions when creating it. When Dylan O’Brien tears up, you care.Examine the slang used by the Gladers. The cast steps up, selling their teen angst and relationship drama even when you can’t quite remember who knows who from where and why some characters are so pissed at other characters. That being said, The Death Cure mostly avoids lingering on any of these questions, streamlining the plot from the much-weaker Scorch Trials into an explosive break-in movie and letting these young actors give it their all. They probably shouldn’t have had the chat-they’re not allowed to say “because he’s this movie’s protagonist,” which is the true reason. It’s also unclear why The First Arm would choose to follow Thomas, to the detriment of their larger cause. At one point, resistance fighters Brenda (Rosa Salazar) and Jorge (Giancarlo Esposito) have an open discussion wondering why they are helping these “strangers” they just met. This is the Millennial dream, as imagined by a non-Millennial. It’s also unclear why both The First Arm and WCKD are almost exclusively populated by teens and young adults, giving the impression that the interns are running everything. This franchise has still not convincingly explained why WCKD needed to allocate its resources into putting a bunch of kids in a rather expensive looking maze in order to cure a virus. If you spend any time whatsoever thinking about the logistics, motivations, or world-building of The Death Cure, it all starts to fall apart. (Though watching Aidan Gillen beat up an actor we’ve been trained to think of as a teen is a tough sell.) The movie delivers on that action front, from the train shootout in the film’s opening minutes to a zombie chase sequence to plenty of hand-to-hand combat. The Death Cure is much more interested in giving us non-stop action scenes-including not one, but two airlift escape set-pieces-than exploring complex moral dilemmas (not that these two things are mutually exclusive). However, he is ultimately a narrow-minded character. Thomas wants to save his friends Teresa wants to save humanity. The Death Cure puts a lot of effort into making Thomas seem like the unshakeable hero, a protagonist whom we should unreservedly throw our support behind. Teresa’s decision to betray her Glader friends in service of finding a cure is treated as an unforgivable crime both by the remaining Gladers and the movie itself. It’s characters like Teresa who point towards The Death Cure‘s wasted thematic potential. As far as franchise-ending installments go, it’s one of the better ones. We’re probably never going to get that final Divergent installment we might as well enjoy this last, gasping breath of the Young Adult dystopia genre. It’s not good, but its earnest in its engagement with its source material, giving the franchise’s fans a satisfying conclusion to the series and non-fans (if any of them see this) almost two and a half hours of action-packed, wistful YA nonsense. Watching The Death Cure brings out a nostalgic feeling for an era decidedly past, rather than simply an irritation at the formulas of the young adult dystopia. It still does, but only a year later, it’s far enough behind the trend that you almost feel sorry for it. It’s the straggling third film in a franchise, an installment that suffered delays following the serious injury of star Dylan O’Brien during filming. If The Death Cure had been released when it was originally slated, back in February 2017, it would have felt dated, contrived, and derivative. The Maze Runner: The Death Cure is a movie coming out a good few years behind the Young Adult dystopia trend.
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