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It's time dilation the farther one goes from King's Landing. What else can explain the fact that characters are moving thousands of miles but Cersei's hair is barely growing back. Since the start of the show, events in King's Landing have only taken 18 months. At distant points North, Jon spent years fighting in the Night's Watch and his little brothers passed puberty and grew two feet taller. Another example, when Arya got to Braavos, she was able to complete a multi-year apprenticeship and get her graduate degree in murder arts in the relative time it took Loras to grow a short beard while imprisoned. I think this is a tv thing- showing what happens over a month in mereen happens in the time it takes to show the weekend w blackfish. Also. argery, dead! I started to have doubts but kind of like how they killed fringe characters and plotlines. Dorne is now in with dany. Tyrell too. No more braavos. North is united (though I don't mind the LF thing now. But it was a gratuitous shot that simply didn't need to be there, and was so jarring, given that earlier in that very episode we saw Varys in Dorne. We already understood that Dorne and Tyrell would be joining Dany, and if the writers were afraid we missed that, they could have easily have written something in to tell us that was not so weird and jarring as Varys on that damn ship. That explains Varys (they picked him up in Sunspear) and the Martell and Tyrell ships (why would they sail to Meereen just to turn around and sail back? . Given they have the Tyrell ships they're presumably off the west coast north of Highgarden - maybe headed for the Iron Islands to take care of Euron. Especially the piece that was playing in the buildup to the big kaboom.

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Unlike similar teen-friendly dystopian adventures like Divergent, however, there is a wonderful complexity to this 'Lost' meets Lord of the Flies meets The Hunger Games meets any number of end-of-the-world apocalyptic excursions, Dashner's source material supplying intriguing characters and thought-provoking situations throughout. There is a palpable sense of doom and dread, a weight many stories of a similar ilk made in the wake of the Harry Potter fantasies, Twilight and The Hunger Games have lacked. Life and death both have real meaning, and when a Glader meets their doom it isn't pretty, it isn't light and it certainly isn't taken for granted. Visual effects wunderkind Wes Ball makes his narrative feature directorial debut, and for once the hype hasn't been wrong. Ball has an astonishing visual sensibility, yet at the same time never loses focus of character and of story, keeping both front and center. He keeps things almost entirely focused upon Thomas and his view of events, allowing the personal dynamics and interactions of the Gladers to drive the action forward and not vice-versa. The design of The Glade itself, the ominous high walls of The Maze surrounding it, all are impressive, while Thomas and his fellow Gladers' forays into the labyrinth itself is something to see. His first nighttime incursion inside to save Alby from certain death, working alongside primary 'Runner' Minho (Ki Hong Lee), is stupendous, filled with uncertainty and danger, everything building to a white-knuckle face-off with a mysterious creature none who have ever laid eyes on have lived to talk about it. The issue, sadly, is the same one that handicaps so many of these attempts at bringing similar pieces of Young Adult fiction to the screen. The screenwriters and studio are so intent on franchise building, so hoping to craft a series of motion pictures that will make them box office dollars hand over fist, they forget to tell a satisfactory standalone tale. There is an annoying unfinished quality about this film that's more frustrating and annoying than it is anything else, the last 20 minutes a boondoggle of unfinished ideas and themes building to a horribly muddled cliffhanger where nothing is resolved and little is explained. You can get away with leaving things in an unfinished state. The Hunger Games: Catching Fire did this beautifully, as did both of the initial chapters of Peter Jackson's The Lord of the Rings trilogy The Fellowship of the Ring and The Two Towers. The Empire Strikes back set the bar for this sort of thing 34 long years ago, revealing a devastating truth about one hero's father while another was stuck in a state of frozen, death-like hibernation. Yet all of those films feel complete in and of themselves, and while a larger story certainly still exists, the one going on inside their respective running times is satisfactorily self-contained. Characters see their story arcs evolve, while the central dynamics of the primary narratives don't leave important facets dangling in the air for no particular reason other than they can. These movies work, all easy to return to and enjoy, making them happily re-watchable outside of the other chapter's in their respective cinematic sagas. As good as many of the individual pieces might be, as handsome a production as it is, as an individual enterprise, the finished film is a frustrating affair. While the ethnically diverse ensemble of young actors is a good one (recognizable faces like Will Poulter, Blake Cooper and Thomas Brodie-Sangster make indelible imprints alongside O'Brien, Scodelario Lee and Ameen), while Ball makes an impressive debut orchestrating things behind the camera, that doesn't lessen the frustration I felt by the time the end credits began their scrawl.

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