For the unaware, learning that The Maze Runner is based on a trilogy of books was the last in a series of disappointments.

James Dashner's young adult, post-apocalyptic novels have been brought to life by graphics designer turned director Wes Ball and producer turned screen-writer Noah Oppenheim. I say 'brought to life', but that may be a generous phrase. Given that premise underpins the entire story, it's unfortunate just how bloodless this entire film (read: setup for parts two and three) actually is.

Thomas (Dylan O'Brien) wakes in a noisy, cramped cage that's hurtling to the surface. Unaware of who he is, where he is or how he got there, the frightened youngster is met by a community of teenage boys who quickly reassure him he's safe and his memory will return. For they also arrived at the small green patch known as The Glade just the way he did. One a month, for as long as anyone can remember.

The Maze Runner triggers a lot of questions. Why is this Glade surrounded by an impenetrable, concrete maze? Who controls it? What are the robotic scorpions that live inside guarding? Why are the boys locked in at night and why is it only boys are sent here in the first place? If you're looking for answers, you won't find them in this instalment as Ball and Oppenheim merely establish characters and construct over any satisfying narrative. If the message is simply 'follow you heart', you'll find it said much more satisfyingly just about anywhere else.

Ball draws on his graphics past to create a convincing world for Thomas and the boys to inhabit even if he can't convince us that their actions, motives or behaviour - they're teenagers, not a SWAT team! - are in anyway plausible. So why are these kids so cohesive given they're complete strangers brought together inside a trap? Back to the questions again which makes for an effective reflection on mazes in general, but it's hardly a satisfying one. Particularly when you'll have to go through it all over again, and again.

// COLIN FRASER

Previewed at Events Cinema, George St, Sydney on 18 August 2014