You don’t get to choose if you get hurt in this world, but you do have some say in who hurts you.
That’s the premise behind “The Fault in Our Stars.” Based off the acclaimed and universally-obsessed-over book by John Green, “The Fault in Our Stars” is more than another teen love drama. It’s a story about cancer, love, and pain that demands to be felt.
Hazel Grace Lancaster (Shailene Woodley) is a teenage girl who has been battling cancer since she was diagnosed at 13. She has to breathe from a tube and haul an oxygen tank everywhere she goes, as using stairs and standing for too long make her short of breath.
After her parents suspect Hazel of being depressed, they make her go to a support group for kids with cancer. It is here where Hazel meets Augustus “Gus” Waters (Ansel Elgort), an 18-year-old boy in remission. The two get to talking, sparks fly, and, despite Hazel’s hesitance about hurting Gus with her inevitable death, the two fall madly in love.
The genius of “The Fault in Our Stars,” lies with its risk to be funny while telling a sad story. You’ll laugh at the banter between Gus and Hazel, the goofy persona of fellow cancer victim Isaac (Nat Wolff), and the way the characters poke fun at their disease (as Gus says to Hazel’s father, “I didn’t cut this guy off for the hell of it,” motioning to his amputated leg he lost to his cancer).
Following up amazing performances in The Descendants and The Spectacular Now, Woodley is never better. As Hazel Grace, she is witty, sweet, and heartbreaking. You won’t be able to take your eyes off her. Opposite her Divergent co-star Elgort, the two are a match made in heaven.
“The Fault in Our Stars” isn’t just another cancer movie comprised of sad scenes and cliché. The story is lively, the characters bright, and the love poignant. The soundtrack, featuring songs from Ed Sheeran, M83, and Kodaline among others, breathes life and beauty into the film.
But, you must remember, this is a cancer movie — it’s not all laughs.
The audible squeals, giggles and applause from the audience slowly turn into suffocating silence and broken cries of “why?” and “no!” By the film’s conclusion you will find yourself bawling into your popcorn (or, in the my case, smuggled-in chocolates), surrounded by loud sobbing and nose-blowing noises from the packed theater. You will leave feeling broken but complete at the same time.
It lives up to its hype.