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I think Hughes would stand up and cheer for this movie. Most impressively, the script strikes a balance between respecting the intelligence and maturity of 18-year olds while still indulging in the naivety and innocence of youth. But the characters here are so well-written and the ensemble acting is so appropriately pitched that the dread of it all never suffocates the fragile hope and positivity that underpins the story. The Fault in Our Stars is darker, heavier material: chronic disease normally does not win the at the box-office (even the cheekily-marketed 50/50 struggled in theaters). Weber, who evidently turn to gold all source material they touch, having also adapted The Spectacular Now and (500) Days of Summer. We don’t have a new John Hughes, but we do have rising screenwriters Scott Neustadter & Michael H. (Meanwhile, my generation suffered through the Clueless/ Can’t Hardly Wait/ She’s All That/ I Know What You Did Last Summer era.) After The Perks of Being a Wallflower (2012) and The Spectacular Now (2013), its arrival marks the coronation of a new golden age in teen movies that hasn’t been seen since John Hughes ruled the genre nearly 30 years ago.
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Taking its title from the first act of Shakespeare’s Julius Caesar, The Fault in Our Stars is a $12 million tragicomedy that has a much bigger heart, and much more to say about life’s hardest lessons, than the vast majority of Hollywood’s star-studded Big Important Movies.