In 2014, a phenomenon came out in dark rooms. The Maze Runner, called Le Labyrinthe in the language of Molière, is none other than an adaptation of successful novels written two years earlier by James Dashner. We follow the adventures of Thomas, a young man who does not know who he really is or where he is. The following year, its direct sequel, La Terre Brulée, arrives in cinema and surprises, if not fully convincing. Clever mix between cinema for teenagers and apocalyptic film, the saga is intriguing and many people want to know its outcome, via the final chapter: The Mortal Remedy. Was the wait worth it?
The logic ? No interest !
Thomas is back, and intends to fight until the end to ensure the survival of his family, those called the Blocards. After trying, in vain, to free his friend Minho, he decides to go, accompanied by some of his relatives, to the “Last Town”. It is within this city, which shelters the wealthiest survivors, that the terrible organization WICKED is found and in particular its creators. Between the possible reunion with Teresa but also the possibility of a remedy to save humanity, will Thomas succeed in carrying out his mission?
Le Remède Mortel, the French name of which is already very kitsch, starts straight away. Raw action scenes take place without the viewer really knowing what exactly is going on. The objective becomes a little clearer after a few minutes: the film does not seek any kind of staging logic, but simply wants to grab us to better digest what it follows. The plot is quickly put aside and no surprises are to be expected. The few original ideas that could interest the viewer in the previous sections are very quickly sidelined, as if one shouldn’t be too ingenious when creating a film.
The story is then disjointed with the flattest logic: action, reflection, conclusion and so on. We sometimes get our fingers crossed for a bit of surprise. But no. Without us really understanding why, this third episode is boring … deadly. One then wonders where has gone the almost sane post-apocalyptic background that has been presented to us so far. The tasty mixture of secret organization, bruised planet and devastating virus leaves room for incomprehension and a certain form of contempt on the part of the spectator. The Labyrinth: Le Remède Mortel succeeded, over the minutes, in becoming a cliché of itself and above all an example of what should not be done.
What surprises the most and which is all the same strange for a feature film having benefited from such an imposing budget (62 million dollars) and a little more time than its predecessors (a longer lapse of time having was mandatory following the injury of Dylan O’Brien during filming), it is the countless number of inconsistencies that are linked to each other. Sometimes, we even find it hard to believe that what is happening in front of our eyes has been filmed and validated.
An example, which does not spoil too much? Thomas, the protagonist of the film, who disguises himself as a policeman to infiltrate a building and decides, without any reason, to take off his helmet. The following ? He gets spotted and puts himself and his partners in danger. Of an abysmal stupidity. And it is far from being the only inconsistency of the film which counts, without exaggerating, a good ten. We sometimes take our heads with both hands in front of such stupidity which would almost suggest that the realization was entrusted to a novice unaccustomed to Hollywood standards.
Something to save it all?
Beyond the boredom, clichés and general incomprehension that dominates, we still retain quality special effects that mitigate a little disappointment. Post-production took longer than expected to put together a very decent feature film on that side and it shows. The artistic direction, very simple and much less inventive than it was in the second part, is overtaken by singular panoramas which let the spectator travel. Fortunately, the (too) many action scenes are of high quality and hold the viewer’s attention enough so that the whole thing does not become a real mess.
Now is the time to judge the cast of the film. But can we really afford to criticize the performances of the actors as the rest seemed to us to be an odious joke? The quartet composed of Dylan O’Brien (Thomas), Ki Hong Lee (Minho), Kaya Scodelario (Teresa) and Thomas Brodie-Sangster (Newt) is doing it with honors. At their side, we note the presence of recognized actors such as Walton Goggins, Giancarlo Esposito, Aidan Gillen or Barry Pepper who ensure a certain credibility to the different scenes, without saving the whole thing. Because the feature film would have deserved to be saved. Behind the stupidity of its scriptwriting ease and the clichés it sends back, Le Remède Mortel hides a real idea of what could have been a saga for teenagers, smarter and more mature than average. In place,