At What Point Did Former ‘Maze Runner’ Star Dylan O’Brien Emerge as a Captivating Actor in His Thirties?

In the world of Hollywood, unexpected transformations are not uncommon, especially among young adult franchise stars. Kristen Stewart and Robert Pattinson’s remarkable evolution from their roles in the Twilight saga to indie film darlings serves as a prime example. Their successful transition may have paved the way for other YA actors, yet when examining the rest of the Twilight cast, Stewart and Pattinson are exceptions. Many of the others who emerged with their reputations intact were already known for roles outside the vampire-centric series. Stewart, in particular, seemed to mature her Twilight style into one that suited her tastes and the more sophisticated material she chose later on.

Enter Dylan O’Brien, an actor whose trajectory has been surprising. Once primarily recognized for his role in the Maze Runner series, O’Brien has managed to carve out a niche for himself as a compelling actor in his thirties. His recent projects, including the soon-to-release Send Help and last year’s Twinless on Hulu, showcase his depth and versatility, distinguishing him from the generic YA protagonists of the past decade.

Reflecting on his earlier work in the Maze Runner films, O’Brien’s performances were not particularly memorable, overshadowed by co-stars like Rosa Salazar, Kaya Scodelario, and industry veterans such as Giancarlo Esposito and Walton Goggins. His subsequent roles in films like American Assassin and Deepwater Horizon failed to significantly elevate his standing. Even his appearance in Taylor Swift’s extended “All Too Well” music video seemed to cement his status as merely a handsome face.

However, 2020’s Love and Monsters marked a turning point. The film reimagined O’Brien as a charming, out-of-his-element everyman in a post-apocalyptic setting, rather than the typical hero figure. This shift hinted at his potential for more nuanced roles, leading to a standout performance in Twinless. Here, O’Brien skillfully portrayed twin brothers: one a suave gay man, the other a well-meaning but dimwitted jock named Roman. The film delves into Roman’s grief and his relationship with Dennis, played by James Sweeney, who also directed and wrote the film. The storyline offers unexpected twists, delving into the psychological complexities of both characters.

Twinless successfully blends elements of screwball comedy with a touch of De Palma-esque obsession. O’Brien’s ability to encapsulate both comedic and tragic elements in his portrayal of Roman is nothing short of impressive, making it one of the year’s most compelling dual performances. His role as Josh in Anniversary, where he portrays a disgruntled son supporting his right-wing girlfriend, further showcases his range. Although the film itself has its flaws, O’Brien’s chilling portrayal of a character fueling national chaos is noteworthy. In Ponyboi, his portrayal of a rough, accent-heavy lover adds another layer to his expanding repertoire.

Which brings us to Send Help, where O’Brien plays Bradley, a feckless office bro inheriting his father’s company and ready to dismiss his awkward employee Linda (Rachel McAdams). When Preston and Linda are stranded on a desert island together, Linda’s superior survival skills give her the upper hand over her boss. O’Brien has to play Bradley as pretty loathsome at first, which he does with heedless bravado, before morphing into… well, not exactly the hero of the piece; Sam Raimi’s horror-thriller-comedy is never that simple. Though Bradley develops some sympathy from the audience, O’Brien never lets his grasping entitlement completely off the hook. What he does instead is play a Sam Raimi-style dope, growling and grunting in frustration like someone repeatedly vexed by Bugs Bunny. It’s not for nothing that a brief shot of a photo casts Raimi’s creative soulmate (and original punching bag) Bruce Campbell as Bradley’s father.

In these roles, O’Brien isn’t exactly playing against his boyish handsomeness. But just as YA movie series tend to flatter certain aspects of their teenage-boy protagonists – impulsiveness, rebelliousness, physical fitness – O’Brien has become especially good at teasing out adolescent impulses in his adult-male characters. In Anniversary, his petulance becomes frightening. In Send Help, his coddled softness and thwarted desire to be in charge becomes hilarious. And in Twinless, his haplessness in processing his grief and confusion become deeply touching. It all adds up to a kind of JV version of Leonardo DiCaprio’s own transition from forever-boyish scamp to wracked-and-wrecked Scorsese Adult. O’Brien may not have DiCaprio’s superhuman movie-star intensity and charisma, but he’s got a similar knack for riding a line of masculine uncertainty. Or maybe that’s what maze running actually is.

Jesse Hassenger (@rockmarooned) is a writer living in Brooklyn. He’s a regular contributor to The A.V. Club, Polygon, and The Week, among others. He podcasts at www.sportsalcohol.com, too.

Stream Twinless on Hulu.