It makes sense that this film lives and dies (no pun intended, I promise) on the ease with which Woodley and Elgort fall into their characters and, as the story progresses, into each other. But the film also demonstrates a faithfulness to the depiction of these kids and their “situation,” and that comes through loud and clear even as Woodley and Elgort’s skin glistens a little too beautifully. Does the richness distract from the harsh realities of the illnesses the film’s leads-Hazel Grace Lancaster ( Shailene Woodley) and fellow cancer kid Augustus Waters ( Ansel Elgort)-live with every day? It’s possible. That is not to say, though, that The Fault in Our Stars is not interested in beauty the film is endowed with the same lush colors director Josh Boone used in his debut film Stuck on Love. There’s something cathartic about weeping through a theatrical experience, yes-but there’s nothing glorious about bearing witness to the bubbling over of a kid’s self-loathing over not being able to not be sick, or in watching saliva and vomit drip from their sobbing mouth, reminding us that dying is not about dignity, or beauty, or glory. For others they were entirely the point.Ī lot of what’s being written about The Fault in Our Stars right now can be (reductively) summed up as mass exclamations of “Pain! Glorious pain!” But the movie itself, for all its reputation, seems more committed to the story it’s telling than to whether or not you’re sobbing in your seat. This is not to shame those for whom the tears came sooner for many the weeping was but a foregone conclusion. Tears did not leave my eyes until the film’s third and final act.
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