When you’re young, you think everything you do is disposable. You move from now to now, crumpling time up in your hands, tossing it away. You’re your own speeding car. You think you can get rid of things, and people too—leave them behind. You don’t yet know about the habit they have, of coming back. Time in dreams is frozen. You can never get away from where you’ve been.
—  Margaret Atwood, The Blind Assassin
Innamorati di una persona che la pensa in modo totalmente opposto a te, ma che ha sempre voglia di ascoltare la tua opinione. Che passi serate intere a spiegarti il suo punto di vista. Che si incazzi in modo esagerato se tu non sei d’accordo, e che vuole fare pace facendo l’amore.
‘The Choice’ Is ‘Filmed Like an Ad for Erectile-Dysfunction Medication’ and 8 More Scathing Reviews

“The Choice” is Nicholas Sparks‘ 11th book to be adapted to the screen — and critics agree that “they should have stopped at No. 10.”

Currently holding a score of 7 percent on Rotten Tomatoes, “The Choice” overtook 2014’s “The Best Of Me” on Friday to become the lowest-rated Sparks movie. Critics say that the film is shallow, overlong and best watched with a “barf bag nearby.”

One critic even goes so far as to say that “The Choice,” starring Benjamin Walker and Teresa Palmer in the leads, is “filmed like an ad for erectile-dysfunction medication.”

Also Read: ‘The Choice’ Review: Nicholas Sparks’ Latest Adaptation Won’t Set Fans on Fire

TheWrap’s own film critic Dave White wrote in his review that “it looks very much like the author’s world, but it’s stripped of silliness, yearning and electricity. Its universe lazily collapses in on itself due to sheer monotony, its unseen yet omnipresent Sparksian Hand of God tires of playing with the cash-generating toy it patented.”

See 9 of the worst reviews below.

Caitlin Moore, The Washington Post: “Sweeping Southern landscape? Check. Mismatched relationship between a rich girl and a laid-back boy (who often goes shirtless)? Check. A medical crisis that may determine the fate of the relationship? An overwrought plot twist? A repeated catchphrase that will soon be pasted across tweens’ Tumblr pages everywhere? Check, check and check. Such are the attributes of ‘The Choice,’ the latest book-turned-film from author Nicholas Sparks. But they’re also the hallmarks of almost every other movie based on the best-selling writer’s romance novels. (See: ‘The Notebook,’ ‘A Walk to Remember,’ ‘Dear John,’ ‘The Longest Ride,’ etc.) ‘The Choice’ is nothing if not consistent, following the well-worn footsteps of its predecessors.” Sandy Cohen, Associated Press: “While the photography is beautiful, at times it unfortunately adds to the cheese factor. When things get rough in Travis and Gabby’s relationship, the seas are choppy and grey. When uncertainty looms, the landscape is windy. It’s metaphor to the max. Romance stories endure because true love is endlessly appealing. But ‘The Choice’ might be too cloying for anyone but Sparks and Harlequin Romance devotees.”

Simi Horwitz, Film Journal International:
“Based on the novel by Nicholas Sparks (a publisher’s darling), ‘The Choice’ is a bloated deposit at the bottom of a dark, airless and murky netherworld that brings together the most torturous elements of old-fashioned soaps, fairytales and faith-based films. It’s as deadly and protracted as one might expect, running a little more than 90 minutes but feeling like four long, long hours.”

Also Read: George Clooney’s 'Hail, Caesar!’ Conquers $543,000 at Thursday Box Office

A. A. Dowd, A.V. Club:
“How many times, really, can someone repackage the same generic love story, presented with all the artistry of a travel-agency brochure and affixed with yet another third-act tragedy? Again and again, Sparks takes the stuff of great four-hankie melodrama — love, death, cute dogs — and grinds it into a formulaic mush. Ask more of your paperback romances. At least ask for a different one each time.”

Eric Henderson, Slant Magazine:
“Digging deep into shallowness requires someone wily and strategic like Gosling, who deftly balanced commitment and contempt in ‘The Notebook’ with Sirkian skill. Walker trusts his material entirely too much, and his performance falls down with ‘The Choice’ around him. (I don’t mean to shortchange Palmer’s team-player performance, but these films objectify their male leads to the point where the culpability of their female counterparts is extraneous. Maria Bamford could’ve played Gabby to the same ends.) It could be that all other Sparks adaptations managed to, if not hide, distract from their inherent jejunosity — to borrow from Woody Allen — through cardboard villains, but ‘The Choice’ doesn’t give viewers the, ahem, choice but to contemplate the banality of virtue.”

David Lewis, San Francisco Chronicle:
“‘The Choice’ has a twist or two toward the end, and they’re about as cheaply maudlin as the movies get. The only choice is to make sure a barf bag is nearby.”

Also Read: Can George Clooney’s 'Hail, Caesar!’ Conquer 'Kung Fu Panda 3?’

Jordan Hoffman, The Guardian:
“At around the 90-minute mark, ‘The Choice’ makes a choice. It could, if it wanted to, just call it quits. By this point we’ve essentially witnessed a full three-act story, albeit a fairly slight one. It’s a courtship film with a few hurdles, reversals and, eventually, a happy ending. Ninety minutes is, as any film exhibitor will tell you, a suitable length for a feature. But The Choice is based on a Nicholas Sparks book, and produced by the same North Carolina-based author of vaguely Christian sentimental pap. And as is his trademark, the story can’t just be simple: it needs some sort of ludicrous last-minute conflict and ridiculous twist. The Choice chooses this well-worn path, give us about another 30 minutes, and we’re all the worse off for it.”

Gary Goldstein, The Los Angeles Times:
“‘The Choice’ is the 11th feature film to be adapted from a novel by bestselling author Nicholas Sparks. They should have stopped at No. 10. An inauspicious first production for Sparks’ nascent film company, ‘The Choice’ stretches a first act’s worth of low-concept romantic dramedy into two acts, then tacks on a tragic third act to create the movie’s raison d’etre. No spoilers here about said third act except to report it feels interminable.”

Jeannette Catsoulis, The New York Times:
“Directed by Ross Katz and filmed like an ad for erectile-dysfunction medication, ‘The Choice’ is almost repellently synthetic. Travis’s dog, Moby, however, should be given his own movie immediately.”

Related stories from TheWrap:

Benjamin Walker, Teresa Palmer Caught in Love Triangle With Puppies in Trailer for Nicholas Sparks’ 'The Choice’ (Video)

Nicholas Sparks’ 'The Notebook’ Series Adaptation in Development at CW

Nicholas Sparks’ Onscreen Couples Power Rankings: From 'The Notebook’ to 'The Longest Ride’

Jane and I were best friends. We would go shopping together and we’d both pick out clothes for each other. It happened quite a lot. We’d have little sleepovers and she always talked me into painting my nails, dying my hair, and putting on makeup. Whenever we saw a cute boy, we’d both giggle like little girls and talk to each other about them. I miss her a lot.

I’m not sure I’ll ever be good at Asexual representation. One reason is simply that I enjoy writing scenarios with physical attraction and teasing at shipping (be they ships that go somewhere or remain forever in port). This means the characters I’m personally going to want to write for and focus on the most are likely to have the potential for these things.

Another reason is that Asexuality is a spectrum. What exactly asexual people are/aren’t going to want out of romantic relationships (assuming they want romantic relationships at all) is going to vary. I base this assertion on what I’ve been told by various people who identify as asexual, and because people are people. I might do a fantastic job representing some people’s view while leaving others feeling totally misrepresented.

That isn’t a reason to not include that asexual character (”oh no this character can’t encompass the whole of a spectrum better leave them out”), but it is relevant to whether I’ll ever be good at Ace representation. I feel it would take several characters with a decent amount of focus on them to do it well.

I’m not posting this as a declaration that there aren’t, or will never be, asexual characters in EGS. Particularly given that any number of characters potentially could be but haven’t been identified as such due to it not having a reason to be mentioned, and there could always be characters who identify with some form of asexuality.

I am posting this, however, because it is not uncommon for me to receive questions about asexual representation, and I want to give those people some sort of answer, and to be totally honest and personal with it.