His character is given to loquacious soliloquies that need to be looser, funnier, and Elgort can’t navigate them without sounding annoying and pompous. Elgort, set to be the teen heartthrob of the moment (he has already appeared in Carrie and Divergent), presents a bigger complication. Woodley is an appealing actress who gives her character some moderately believable shape, though she needs to be reeled back in her big, dramatic moments, when her voice hits the high, nut-busting notes of a hectoring chipmunk. “There’s plenty in The Fault in Our Stars that’s hard to buy, though that’s not by itself a problem. For our doomed young lovers, cancer is just another teenage problem to deal with, no excuse for schmaltz.” -Betsy Sharkey, The L.A. Boone uses plausible situations to stir up feelings, without the heart-tugging calculation that brings so many tear-jerkers down. Make no mistake, Fault is a certifiable weepie, but it comes by most of its emotions honestly. “Woodley and Elgort play the hand they’re dealt well, balancing the sentiment with a good deal of teenage moxie. It’s an above-average entry into the genre, broadening its appeal beyond just teenagers, fans of the original novel and those who love a good cry.” -Kimber Myers, The Playlist There are also some nice stylistic flourishes, particularly around Hazel and Gus’s texts that make the film feel of the moment, while not being tied to any particular year (or operating system).
It’s most comparable to Jonathan Levine’s 50/50 in this way it will leave you feeling like you’ve been punched in the gut, but it acknowledges that there can be humor even in the worst situations. Most movies with this target audience are maudlin and manipulative, but Boone’s film never feels like it’s trying too hard to win our tears-or our laughter.
“ The Fault in Our Stars wins points for being more complex and stylish than most similar films feel they need to be.
0 kommentar(er)
