In this week’s new releases, love blossoms between two young people (Shailene Woodley and Ansel Elgort) affected by cancer in “The Fault In Our Stars,” a film based on author John Green's bestselling novel. Tom Cruise and Emily Blunt star in the sci-fi flick “Edge of Tomorrow,” an adaptation of the Japanese novel “All You Need Is Kill.” Both films receive three stars.
★★★ “The Fault in Our Stars” (PG-13) “‘The Fault in Our Stars’ brims with the kind of adolescent goofiness, searching and spiky anger that marked the John Hughes and Cameron Crowe films of another era.” – Ann Hornaday
★★★ “Edge of Tomorrow” (PG-13) “A crafty, clever, stylish science-fiction action adventure, this time-travel loop-de-loop didn’t have to be this good. But thanks to the efforts of a superb creative team and Tom Cruise — here deploying his own persona with stunning self-awareness and humor — what might have been a throwaway genre exercise instead turns out to be a surprisingly satisfying day-after-day-after-day at the movies.” – Ann Hornaday
★★★ “Words and Pictures” (PG-13) “Aspects of ‘Words and Pictures’ feel like they’re from another era, whether it’s the ‘His Girl Friday’-style repartee or the overly sentimental music that pops up between scenes. Veteran director Fred Schepisi still uses some of the methods he did when helming ‘Roxanne’ (1987) and ‘I.Q.’ (1994), and his take on filmmaking, not to mention romance, doesn’t always feel fresh” – Stephanie Merry
★★★★ “Night Moves” (R) “Responsibility, disillusionment and the corruption of principle are the film’s true themes, and it tugs at them relentlessly, pulling them up by their dirty, tangled roots. It’s a movie about environmental extremism, but it could just as easily be set in Congress or the Occupy movement.” – Michael O’Sullivan
★★ “Gore Vidal: The United States of Amnesia” (Unrated) “It seems weird to honor a man like Gore Vidal, a blue blood who built a career as one of the 20th century’s most cantankerous celebrity intellectuals — in essence, criticizing the ruling class into which he was born — with a by-the-book documentary portrait like ‘Gore Vidal: The United States of Amnesia.’ It does exactly what its subject didn’t do: toe the line.” – Michael O’Sullivan