Chris Luckett

In the last decade, a younger, more self-aware and honest brand of indie romance movie has emerged. These movies, like Garden State, Nick and Norah’s Infinite Playlist, 500 Days of Summer, and The Spectacular Now, combine quirky characters, hip soundtracks, melancholic atmospheres, and poetic imagery to create rewarding and powerful movies, far removed from derided Nicholas Sparks adaptations like The Last Song or Safe Haven. Despite its Sparksian premise, The Fault in Our Stars belongs in the same breath as those four modern classics.

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