The execution of the action sequences in The Maze Runner is the only redeeming quality of the movie. With Indiana Jones-style escapades and narrow saves, the director manages to absorb our attention nicely. Alas, they are far in between and short-lived. Just go with low expectations and you might not be disappointed.

Wes Ball doesn’t rely too much on special effects although it would have been tempting to do so given the technology that is at disposal today. The Maze Runner is better than many of the mainstream super hero movies and is worth a shot.

Graphics designer turned first-time feature filmmaker Wes Ball has done a commendable job in telescoping the story for the big screen.

Thankfully, it doesn’t succumb to formulas and steers clear of cliches — for the most part…

The maze, too, is a letdown. Given that it’s the central conceit of the film, one expects more than domino rows of big cinderblocks. Jack Nicholson’s Jack Torrance, who so memorably stalked the snowy hedge maze of The Shining, wouldn’t bat an eye at these drab corridors.

Readers of the book have praised the film for being better than it, and there can be few greater compliments. However, Ball’s biggest achievement is letting us see the children at the heart of this coming-of-age story.

If dystopian post-apocalyptic films are your thing, swing by at your nearest cinema this weekend…

…the film trudges along and leaves one feeling a deep sense of disappointment for having invested time in a flick that is neither entirely entertaining nor pathbreaking. Recommended only if you have absolutely nothing else to do.

Ultimately, the plot provokes you to think if ‘being safe to suffer’ is better than ‘risking your life to look beyond the obvious’. It also convinces you to move out of your comfort zone and face your fear. The climax might seem underwhelming for some but the build-up is a sure-shot winner. Deserves a sequel…