Movie Review ~ Marriage Story


The Facts
:

Synopsis: A stage director and his actor wife struggle through a grueling, coast-to-coast divorce that pushes them to their personal and creative extremes.

Stars: Scarlett Johansson, Adam Driver, Laura Dern, Merritt Wever, Ray Liotta, Julie Hagerty, Martha Kelly

Director: Noah Baumbach

Rated: R

Running Length: 136 minutes

TMMM Score: (9/10)

Review: Relationships are hard.  We all know this because we’ve all been in one and understand the complexities that go into forming a bond with someone and the work necessary in keeping those home fires burning.  Even if you love the person deeply, there are times when you need to remember the reason why you got together in the first place.  These are internal feelings hard to express not just to an outside observer but to yourself.  Now add in a shared career, living space, and the livelihood of another human being and you have a little more of an idea how much a marriage ups those stakes.

Marriage Story isn’t the first movie to explore the crumbling of a union, nor will it be the last but it’s the first one I can remember that seems to have found a way to believably get inside the hearts, minds, and psyche of two people that have decided to call it quits.  The reasons aren’t cut and dry, they haven’t been given Hollywood-ized rationales for parting ways but instead are balancing carefully weighed and emotionally resonant choices that, for at least one of them, have been agonized over.  There’s no early dramatic spike where one announces to the other “I want a divorce”, when the movie opens we’re already in that space and that’s how writer/director Noah Baumbach invites us into the private lives of a family navigating an unknown space.

Successful New York theater director Charlie (Adam Driver, The Dead Don’t Die) and his wife Nicole (Scarlett Johansson, Under the Skin) have enjoyed building up their small theater company over the past decade.  She’s a former Hollywood actress that left the glitz for something more challenging and gritty, finding that in Charlie’s creative work environment.  They have a son, Henry (Azhy Robertson), and a seemingly pleasant life suggested by opening voice-overs by the two in which they extol what they like most about the other.  Turns out this is all an exercise used in mediation to facilitate an easy separation.  Charlie has hurt Nicole and she’s asked for a divorce.  She’s accepted an offer to film a pilot in L.A. and will be taking Henry with her while she films the show, Charlie will stay behind to bring their latest production to Broadway.

As the movie unfolds and a planned amicable separation turns ugly, the husband and wife become unlikely adversaries.  As parents, they become spiteful and their collaborative friendship sours.  Charlie leaned on Nicole more than he knew and when she withdraws that support he understands, slowly and too late, all that she sacrificed.  When Nicole hires a cutthroat lawyer (Laura Dern, The Fault in Our Stars), the gloves come off; small incidents become fodder for character assassinations and negotiations on living arrangements bring out the worst in everyone.  Charlie enlists the assistance of two lawyers, one (Alan Alda, The Longest Ride) is more pragmatic of the situation and the other (Ray Liotta, The Iceman) isn’t afraid to get down in the mud with Nicole’s attorney.  One guess who he winds up paying a hefty retainer to.

Many have compared the film (in small theatrical release now and streaming on Netflix) to 1979’s divorce drama Kramer vs. Kramer and they aren’t so off the mark.  That film is decidedly more focused on the man’s point of view and Marriage Story has a more even keel, never quite taking the side of either party but leaning every so slightly into the Nicole camp for the majority of the 136 minute running length.  Charlie is going to frustrate a lot of people (disagreeing, my partner and I had a long discussion about him after) because many of the problems with the marriage seem to stem from his lack of self-awareness regarding putting his own needs above others.  I don’t necessarily disagree with that call out, but there’s a difference between being knowingly self-centered and simply lacking the skills to separate what is important now from what is important in the long run.  Charlie falls into that latter category.

It’s not a huge secret Baumbauch (Mistress America) drew inspiration from his own shaky divorce from actress Jennifer Jason Leigh when composing this film.  I’m not sure how much she’d appreciate this movie or how much of Nicole is drawn with her in mind but Nicole is often shown as quietly harboring resentment that she later wields at her ex-husband in sometimes cruel ways.  True, it could be a justified way of exerting some power for the first time when she felt powerless for so long, but it doesn’t always make her look like the better party.  It helps innumerably that Johansson gives Nicole layers upon layers of nuance, peeling back each cover for us and showing a refreshed person underneath.  The wife in a divorce is often relegated to a cliche but Baumbach works with Johansson to make this wife more than just a woman breaking free from a joyless union or nobly taking back her hard-won freedom, this is a woman simply saying she wants a different life and having the confidence and courage to make it happen.

Speaking of Johansson, in the same year she was so great in Jojo Rabbit, this is arguably the best work she’s ever done and it’s a performance that doesn’t peak early.  Though a lengthy speech to Dern may feel like her big moment she has more surprising scenes throughout and it’s a wonder to watch her work.  She has believable chemistry with Driver and I bought the two had formed a family with Robertson and felt that twinge of guilt she experienced when she was breaking up that unit.  I struggle with the popularity of Driver, failing to truly understand why he’s as universally acclaimed as he is and for much of the movie I just wasn’t getting the sewn up Best Actor buzz that followed him with this movie.  The final thirty minutes, however, had some pretty powerful scenes for Driver to play and he works them, especially an emotionally on-the-nose Sondheim song, like a master.  I’m not sure it’s an Oscar slam-dunk as others do, but it’s certainly worthy of recognition.  What I am scratching my head on is the fiery buzz around Dern’s divorce attorney.  Now, you won’t find a bigger Dern supporter than myself and while I found her to be a strong supporting player along with Alda, Liotta, Julie Hagerty (as Nicole’s mom), Merritt Weaver (Welcome to Marwen, as Nicole’s sister), and Martha Kelly (Spider-Man: Homecoming, as a hilariously deadpan social worker), but is this an Oscar-winning role? No way.  Dern can do this kind of role in her sleep and I found it sadly lacking in the kind of levels that I normally would look to an Oscar-winning performance to showcase.

Written and directed by a man that went through a difficult divorce, Marriage Story could easily have been a way to exorcise some frustrations of that experience but instead Baumbach has brought forth a sensitive and at times understated exploration of separation.  Not just the legal pieces or the physical distance between the families but the emotional aspects of what happens when people are removed from the lives of others.  They say divorce is like a death and it’s the most telling in two moments from the movie.  One scene a character looks on a wall and sees family pictures in which they are well represented, later on after all is said and done they visit the same wall and they have completely disappeared, like they never existed at all.  It’s one of the saddest moments Baumbach captures.

The Silver Bullet ~ Little Women (2019)



Synopsis
: Four sisters come of age in America in the aftermath of the Civil War.

Release Date: December 25, 2019

Thoughts: It’s a curious thing, watching this first trailer for the much-anticipated holiday release of Little Women.  I mean, it’s not exactly like we’ve been starved for adaptations of Louisa May Alcott’s beloved novel.  There was a modern remake last year, a well-regarded BBC mini-series in 2017, and the 1994 version starring Winona Ryder still ranks high on my list.  Let’s not forget the Katherine Hepburn entry from 1933 or the one in 1949 with Elizabeth Taylor among the dozens of other takes on the source novel.  All this to say I was surprised director Greta Gerwig chose this project as her follow-up to her breakout hit Lady Bird.  To me, the way the preview is cut feels too indie twee for me, but Gerwig has assembled a heck of a wonderful cast with Saoirse Ronan (How I Live Now), Timothée Chalamet (Beautiful Boy), Meryl Streep (Florence Foster Jenkins), Florence Pugh (Midsommar), Laura Dern (Smooth Talk), and Emma Watson (The Bling Ring) getting into the period costumes to once again bring Alcott’s characters to the screen.

Movie Review ~ Downsizing

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The Facts
:

Synopsis: A social satire in which a guy realizes he would have a better life if he were to shrink himself.

Stars: Matt Damon, Christoph Waltz, Hong Chau, Jason Sudeikis, Kristen Wiig, Udo Kier, Laura Dern, Neil Patrick Harris

Director: Alexander Payne

Rated: R

Running Length: 135 minutes

TMMM Score: (5/10)

Review: If there’s one thing I can’t stand, it’s a movie that doesn’t have ideas to share.  It’s becoming more and more common to describe big budget action films or insipid comedies as brainless and for me that would just be the worst if I were a filmmaker.  I’m impressed with films that clearly have a point of view and, even if the movie itself isn’t all that special, at least they can go down saying they gave it some semblance of a good shot.

Such is the case with Downsizing, the new film from talented director Alexander Payne (Nebraska, The Descendants) who has co-written an interesting satire that doesn’t have far to go but takes a long time getting there.  It’s not lacking in good performances, dedicated direction, or superior production design but what’s it’s really missing out on is a consistent playfulness that highlight its most memorable sequences.

Paul Safranek (Matt Damon, Promised Land) is an occupational therapist working for Omaha Steaks in the not too distant future.  Living with his wife (Kristin Wiig, The Martian) in their modest home they make ends meet but aren’t really going anywhere either of them have much vested interest in. They are, like so many of us, just coasting through life and waiting for the next shoe to drop.  Attending a reunion, they reconnect with Dave Johnson (Jason Sudekis, We’re the Millers) and his wife who have undergone a drastic medical procedure introduced as a way to reduce the global overpopulation and pollution concerns.

Through a process known as Downsizing, humans are being shrunk to five inches and living in communities around the world that are tailor-made to their new sizes.  In places like Leisureland, your life savings that once wouldn’t have covered more than a nice trip to Europe can now buy you a mansion, allowing you to live the life of luxury while eliminating the continued build-up of environmental effluence.  This irreversible process has been slow to catch on globally but those that go through it speak of its life changing benefits.

Energized by the possibility of a better life “going small”, the Safranek’s commit to becoming shrinky dinks and that’s when two things happen.  The first thing that takes place is a shift in the Safranek’s relationship neither of them saw coming, the second is that the movie almost instantly becomes less interesting.  That’s troubling because at this stage in the film we’re only about 1/3 of the way through and so it begins a slow march to the finish line…a very slow march.

It’s not all bad news, though, because there are some bright spots that pop up here and there.  Though he has a penchant for playing the same role over and over again, here two-time Oscar winner Christoph Waltz (Django Unchained) is having a ball not playing the villian.  As Dusan, a playboy neighbor that befriends Paul, he feels at home with Payne and co-writer Jim Taylor’s dialogue…proving he doesn’t need a Tarantino script or lip-smacking guile to turn in a memorable performance.

Even with heavy hitters Damon and Waltz present and accounted for, the film belongs to break-out star Hong Chau (Inherent Vice) as Ngoc Lan Tran, a Vietnamese refugee who was put in prison for her political activism and downsized against her will.  A Waltz’s house-cleaner, Tran is no-nonsense and to the point, something that captivates Paul.  Finding himself in her debt, a relationship forms between the two that is both surprising and surprisingly sincere.  This connection carries the movie through the final act when Paul, Dusan, and Tran travel to the original downsized colony in advance of an announcement that will change all their lives forever.

There’s good stuff in nearly every frame of the movie and while I enjoyed the film for the most part during my initial viewing, the more I sit and dissect what it’s saying the less enamored of it I become.  Up for debate is the political correctness present in Chau’s portrayal of Tran but while some have called foul I’ve heard the actress talk about her approach and she stands behind her work.  As far as I’m concerned, if she’s OK with it, the discussion is finished.  More of a pain point for me is that the movie just isn’t as interesting as it wants us to believe it is.

The middle sections sags and drags and it’s thanks to Chau’s spirited performance that the movie recovers at all.  Payne isn’t afraid to shine a light on behavior or situations he finds eccentric, I just wish he had found a few more noteworthy turns to take on the odd-ball road trip he sets into motion.  Clocking in well over two hours, Downsizing should have reduced its running time along with its main characters.

Movie Review ~ Star Wars: The Last Jedi

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The Facts
:

Synopsis: Having taken her first steps into a larger world in Star Wars: The Force Awakens, Rey continues her epic journey with Finn, Poe and Luke Skywalker in the next chapter of the saga.

Stars: Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Lupita Nyong’o, Domhnall Gleeson, Anthony Daniels, Gwendoline Christie, Andy Serkis, Benicio Del Toro, Laura Dern, Kelly Marie Tran

Director: Rian Johnson

Rated: PG-13

Running Length: 152 minutes

First Trailer Review: Here
Second Trailer Review: Here

TMMM Score: (9/10)

Review: If there’s one feeling that governed 2015’s Star Wars: The Force Awakens, it was nostalgia. Fans had toiled through the dark despair of the Star Wars prequels and were holding out hope that director J.J. Abrams (Star Trek) would bring them salvation in the continuing story of the sci-fi fantasy epic. So when The Force Awakens opened and was actually good, if not wholly great, most audiences that received the film well left the theater floating on a cosmic wave of good feelings of the old school charm that kept the original trilogy preserved so well over the years.

I count myself as one of those fans and gobbled up the film hook, line, and sinker. However, in hindsight it’s best to admit in the spirit of friendship that I fully recognize The Force Awakens was largely a remake of Star Wars: A New Hope. Sure, it wasn’t a paint-by-numbers carbon copy but the familiar themes of the original didn’t go unnoticed. I wasn’t as big a fan of 2016’s Rogue One: A Star Wars Story as many were, that film didn’t have anywhere to go so it remained flatter than a pancake to this viewer. Now, with the release of Star Wars: The Last Jedi the producers and filmmakers would really be put to the test. Would they continue to pull from the past to create something to please the fans, or would they dare to try something different?

Well, The Last Jedi is a little bit like walking forward while cinematically rubbernecking to spot where you were coming from. It’s immensely entertaining when it wants to be (which is most of the time) and a little lackluster in laying the groundwork for future installments and whenever it gets too cerebral. Writer/director Rian Johnson (Looper) ably picks up the reins from his predecessor and does more than just keep his seat warm before Abrams returns for Episode 9. There’s a forward thrust but it does take time to reach warp speed.

It’s always a special thrill to hear John Williams score announce the start of the film and a bit of excitement reading the opening crawl. The first fifteen minutes are classic Star Wars, with a group of rebel fighters including Poe Dameron (Oscar Isaac, A Most Violent Year) protecting their cavalcade and fearless leader (the late, great, Carrie Fisher, This is My Life) from an attack waged by General Hux (Domhnall Gleeson, Goodbye Christopher Robin). It’s here were a strange comedic chord is first heard, one that made me wonder if Johnson had decided to inject his film with more Spaceballs (Mel Brooks’ brilliant send up of the Star Wars films) than was appropriate.

We last saw young orphan Rey (Daisy Ridley, Murder on the Orient Express) traveling with Chewbacca on the Millennium Falcon to find Luke Skywalker (Mark Hamill, Kingsman: The Secret Service) who was in a self-imposed exile. While Poe and Leia continue to evade the monstrous Hux, Rey tries to sway Luke to return and help the resistance defeat The First Order and their leader, General Snoke (a CGI creation that looks better here than in The Force Awakens, once-again voiced by Andy Serkis, Breathe). There’s also the matter of Kylo Ren (Adam Driver, Frances Ha), Leia and Han Solo’s son who turned to the Dark Side and is still smarting from the butt-whooping he received from Rey and Finn (John Boyega) at the end of the previous film. He’s out for revenge…but does he have more secrets up his well-armored sleeve that will change the course of The First Order and the resistance?

Juggling several storylines at once, Johnson keeps the 2.5 hour film moving a good clip. A race against the clock rescue mission involving Finn and Rose Tico (Kelly Marie Tran, an excellent addition to this male-heavy world) manages to remain engaging even when it’s broken up and interspersed with the goings-on of other characters. The movie has a few endings but manages to justify them with ease.

Aside from Benicio Del Toro (Inherent Vice) as a code-breaking thief and Laura Dern (Jurassic Park) showing up with purple hair as Leia’s second in command, it’s largely the same old gang we first sparked to in previous installments. While certain players take more of a backseat in glorified cameos (12 Years as Slave’s Lupita Nyong’o is a mere hologram here), Johnson has introduced a few memorable creatures like the cute Porg’s, Crystal Foxes, and Luke’s island-dwelling servants that one critic hilariously dubbed “the fish nuns”. They’re not going to replace Chewie or R2D2 in your heart but they do rally a convincing bid for you to make some room.

The second movie in a planned trilogy can often feel a bit flimsy as a bridge between the first and final chapters but The Last Jedi avoids those pitfalls. Depending on your knowledge of the Star Wars universe, it could easily stand on its own. It makes you look forward to the next installment rather than feel desperate for answers that you might not get by the time the credits roll. The effects are top notch, the score from Williams sounds as glorious as ever, and try not to get a little choked up every time Fisher’s on screen.

The Silver Bullet ~ Star Wars: The Last Jedi (Trailer #2)

Synopsis: Having taken her first steps into a larger world, Rey continues her epic journey with Finn, Poe and Luke Skywalker in the next chapter of the saga.

Release Date: December 15, 2017

Thoughts:

The Silver Bullet ~ Star Wars: The Last Jedi

Synopsis: Having taken her first steps into a larger world, Rey continues her epic journey with Finn, Poe and Luke Skywalker in the next chapter of the saga.

Release Date: December 15, 2017

Thoughts: Star Wars, Luke Skywalker, OMG, Amazing, Laura Dern, December Get Here Soon!, Why are you still reading my thoughts…watch the first teaser trailer now!

The Silver Bullet ~ Wilson

wilson

Synopsis: A lonely, neurotic and hilariously honest middle-aged man reunites with his estranged wife and meets his teenage daughter for the first time.

Release Date: March 24, 2017

Thoughts: Though MN has been the setting for several notable Hollywood releases, it’s been a while since we’ve had a locally shot project to look forward to…especially one with such a strong cast. Adapted from the graphic novel by Daniel Clowes and directed by Craig Johnson (The Skeleton Twins), Woody Harrelson (Now You See Me 2) stars as the titular character who reunites with his ex-wife (Laura Dern, Smooth Talk) to visit the daughter she put up for adoption years earlier.  Harrelson and Dern on their own would pique my interest but the two stars together in a movie shot in my hometown featuring a host of familiar local faces?  Sign me up to get to know Wilson better. 

Down From the Shelf ~ Jurassic Park III

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The Facts:

Synopsis: A decidedly odd couple with ulterior motives convince Dr. Alan Grant to go to Isla Sorna (the second InGen dinosaur lab.), resulting in an unexpected landing…and unexpected new inhabitants on the island.

Stars: Sam Neill, William H. Macy, Téa Leoni, Alessandro Nivola, Trevor Morgan, Michael Jeter, Laura Dern

Director: Joe Johnston

Rated: PG-13

Running Length: 92 minutes

TMMM Score: (5/10)

Review: It took four years for Steven Spielberg to direct a sequel to 1993’s Jurassic Park and with the problematic reception of The Lost World: Jurassic Park in 1997, the award-winning director was understandably cool to the thought about returning behind the camera for the third entry in 2011. Instead, Spielberg gave his old pal Joe Johnston (Captain America: The First Avenger) the chance to direct and while the end result was a marked improvement over his lugubrious sequel, Jurassic Park III has its own set of problems to contend with.

Paleontologist Alan Grant (Sam Neil, The Vow, making a welcome return to the series) is facing budget cuts and a scientific community more interested in his adventures at Jurassic Park than the research he’s devoted his life too. When a wealthy couple want to hire him and his assistant (Alessandro Nivola, American Hustle) to guide them on a sight-seeing trip over Isla Sorna (Site B featured in The Lost World: Jurassic Park), he reluctantly agrees as a way to make ends meet. Nevermind that series fans will know that Grant never set foot on Isla Sorna (Jurassic Park took place on Isla Nublar)…it’s a detail explained later but not very well. A crash landing is only the start to the bad luck Grant and company encounter as they try to survive an island with dinosaurs that have run amok and double-crossing members of their party.

At a trim 92 minutes (including credits) the film doesn’t take much time to breathe (or to think) and it’s probably best if you follow suit. Between some fairly terrible CGI dinosaurs and animatronic models that look like they were plucked out of your local science museum, the quality of the effects took a tumble here.  Odd colored dinosaurs look like they have graffiti on them and the raptors have mohawks…punk rock raptors? A big bad dino has a head that looks so fake you wonder if Johnston wasn’t making a spoof of the original film instead of a continuation of that story.

Performance-wise, only Neil (and a brief cameo from Laura Dern, The Master) have any real sense of urgency. Everyone else seems to be present to chew the scenery or be chewed on. Particularly bad is Téa Leoni who takes one too many pratfalls and apparently gets several haircuts during the 24 hours they are stranded on the island. Leoni also has an annoying way of running through the forest screaming and waving her arms and legs like she’s on fire, leading me to wonder if someone ever bothered to tell her she wasn’t in a comedy.

It’s not as boring as The Lost World; Jurassic Park but it’s far sillier. Depending on your mood, that could be either a good thing or a very bad thing. Watching it again recently I rolled my eyes a lot but didn’t have the outright disdain for it that I had when it was originally released. The script (with a contribution from Alexander Payne, Nebraska) feels like a tired third entry in a successful franchise, nothing more and nothing less. Its lackluster performance at the box office signaled the closing of this beleaguered park, a wise move if nothing of substance could be produced.

 

 

The Silver Bullet ~ Wild

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Synopsis: A chronicle of one woman’s 1,100-mile solo hike undertaken as a way to recover from a recent catastrophe.

Release Date: December 5, 2014

Thoughts: Remember that time that Reese Witherspoon won an Oscar for Walk the Line?  Yeah…that seems like a distant memory now.  Though I still feel Witherspoon was led to the podium by a campaign based on charm rather than an award winning performance (Felicity Huffman should have been honored for Transamerica that particular year), she’s proved more often than not that she’s a smart cookie of an actress.  Paired with Jean-Marc Vallée who led not one but two actors to Oscar victory in 2013’s Dallas Buyers Club and working with a script by Nick Hornby (About a Boy) based on Cheryl Strayed’s memoir, Wild could be the movie that brings Witherspoon (This Means War, Mud) back into the top tier of Hollywood’s A-List.  Don’t expect some wimpy outdoor version of Eat, Pray, Love either…the trailer indicates Wild will be a raw journey for all involved.  That alone makes it worth looking forward to.

Movie Review ~ The Fault in Our Stars

fault_in_our_stars

The Facts:

Synopsis: Hazel and Gus are two teenagers who share an acerbic wit, a disdain for the conventional, and a love that sweeps them on a journey.

Stars: Shailene Woodley, Ansel Elgort, Willem Dafoe, Nat Wolff, Laura Dern, Sam Trammell, Mike Birbiglia, Lotte Verbeek, Emily Peachey 

Director: Josh Boone

Rated: PG-13

Running Length: 125 minutes

TMMM Score: (8.5/10)

Review: After reading several early rapturous reviews of John Green’s 2012 novel The Fault in Our Stars I, like all my good bandwagon hopping peers, snapped up a hardcover copy to say I owned it and then let it sit on the shelf where it gained a fine layer of dust.  When it was announced in 2013 that the film version of the novel was hitting theaters in 2014 I dusted off the book and carried it around with me with the best of reading intentions…only to see it make its way back onto the shelf, unread.

Suddenly, it’s 2014, I’m seeing the film in a week, and my guilty procrastinating personality kicks into high gear and I finally crack open the book.  The rest is history…the kind of superior reading experience that maybe I was always destined to have.  Green’s novel, told from the matter-of-fact perspective of a girl dying of lung cancer, was a humorous, heart-string tugger that never felt sorry for itself or resorted to cliché to keep its audience tearing through the pages.  In the novel, love is found between protagonist Hazel and charming Augustus at the very worst time…when death is standing at the door.

Too many films adapted from popular novels suffer by comparison because they either fail to capture what made the action on the page so special or change too much so the product is unrecognizable to fans.  That’s not the case here, thankfully, so while it does retain some of the more problematic passages that made the novel perfectly imperfect, its devotion to being faithful made me respect it even more.

I can’t say for sure, but had I not known while reading that Shailene Woodley (The Descendants, The Spectacular Now) was playing the lead I think I would have always imagined her in the role. As it is, after seeing Woodley’s sensitive take on the character I can’t imagine any actress out there today could have done the role justice as well as she does here.  As in the novel, Woodley’s Hazel is strong yet vulnerable, direct but caring, and wise well beyond her young years.  When she meets Augustus (Ansel Elgort, last seen playing Woodley’s brother in Divergent) in a cancer support group, she finds a kindred spirit that shows her she’s got a lot of living left to do…and wants to live it with her.

Director Josh Boone teams with screenwriters Scott Neustadter and Michael H. Weber in bringing this sentimental tear-jerker to audiences without letting the film with such a melancholy subject feel too heavy.  The beats are all in the right place and the film enjoys a good hour of splendid magic before veering (like the novel) into a subplot that (like the novel) just didn’t work for me.  To say what this tangent is would be to betray what happens later in the film so I’ll merely say home is where the heart is.

As far as differences between the novel and the film, most are too small to report back on.  Even though the flash-forward opening moments of the movie had me on edge, it wasn’t the deal breaker it could have been in less devoted hands and thankfully, Boone and co. have figured out a way to smooth over (not change) the ending to be more cinematically sound.  As Hazel’s dad, Sam Trammell isn’t as weepy as the novel implies, bringing a welcome stoicism absent on the page that makes him more equal partners with his wife and daughter.  It’s hard to believe there was a time I wasn’t a fan of Laura Dern, never really warming to her performances.  However Dern (Smooth Talk, The Master, Jurassic Park) delivers moving work here as Hazel’s mom, further cementing my admiration for her talent.

Woodley and Elgort have chemistry for days, something the movie would have been D.O.A. without.  Largely thanks to Woodley’s earthy presentation of a dying girl and Elgort’s laid-back approach to a devil may care boy The Fault in Our Stars becomes more than a disease of the week three hanky weeper.  A well made film crafted by people who obviously cared about the book quite a lot, there’s little fault to be found here.  A nice bit of counter-programming for audiences already weary with effects heavy blockbusters.