The setup, with its theme of seeing people beyond their public facades and not insisting that they to live up to your fantasy version of them, has more in common with “ Gone Girl” than “ Fast Times at Ridgemont High.” As a result, “Paper Towns” might be the only movie to ever pay tribute to Walt Whitman’s poetry, Woody Guthrie’s music and the empowering theme song from the “Pokemon” cartoon series. The smart script is brave enough to venture beyond yesterday’s fleeting Twitter fodder for its pop-cultural references. Weber, who also did the screenplay for what is probably the pinnacle so far of this mini multiplex youthquake, 2013’s “ The Spectacular Now,” as well as 2009’s “ (500) Days of Summer.“ Its director, Jake Shreier (“Robot & Frank”), is once again a relative newcomer hungry to establish himself with a low budget and a troupe of charismatic mostly unknowns. The current Green adaptation, “Paper Towns,” might not possess the same exhilarating highs and somber lows as “The Fault in Our Stars,” b ut this teen drama wrapped around a human enigma does share more than a few commonalities, including the same savvy writing team of Scott Neustadter and Michael H. That it managed to open to $48 million domestically and grossed $307 million worldwide offered hope that kids born during the past decade and a half will someday have their answer to “ Rebel Without a Cause” or even “ The Breakfast Club” to cherish. The honest treatment of the subject matter, the beautifully rendered characters, the mordant humor and the respectful way the relationships were drawn - including those concerning parents - elevated what could have been a maudlin weeper into cathartic nirvana. But it reduced me to an immensely satisfied blubbering puddle of tears-and happily so. I’m not even in the same time zone let alone ballpark of the target demo for last year’s hit based on his “ The Fault in Our Stars,” which starred Shailene Woodley and Ansel Elgort as two cancer-stricken kids in love.
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The primary source for this 21st-century upgrade of teen-angst cinema is the sensitive, grounded-in-reality novels written by John Green.
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Somewhere between the overwrought gothic romance of “Twilight” and the gross-out ribaldry of “ Superbad” exists a funny-sad expanse of melodramatic normalcy aimed at young adults that owes more to the issue-oriented “Afterschool Specials” from ‘70s TV and John Hughes than to Dracula and the Farrelly brothers. There has been a slight if significant shift in the types of films aimed at adolescents lately.
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