The climax seems to be when Cami (we) is rushed to make a choice during a dream each potential shirtless suitor makes their case and then poses under the flurry of sheets. There are also no negative consequences for any of our choices, so how are we supposed to become invested anyway? We're prompted to make a series of choices that could lead us down four distinct endings ( 15 main endings in total with slight variations) yet each choice we make feels inconsequential, especially since we know we can go back and start again. Apart from maybe missing out on a different lover, there are truly no real stakes at play, and thus it ends up being anticlimactic. But with a character that is unable to offer introspection as many rom-com protagonists do, Marano's agency within her role is confined to Cami's two-dimensional plane.īeing devoid of dynamic characters and only relying on the viewer sets the storyline of the film up for failure. Marano does try to bring Cami's character to life with an occasional brow furrow and wink when breaking the fourth wall to indicate a looming decision. On top of that we are forced to play through Cami, whose excessive perkiness is grating and likability is inaccessible. They're the epitome of two-dimensional characters. Featuring three vague character profiles so hopefully at least one of them entices the viewer, character development is just not feasible or possible. The journey does offer an interesting insight into ourselves and what we value, but this also means the narrative of the film suffers. She essentially invites us to fill her shoes for her and in that sense, her personality is actually just a reflection of ours. Choose Love's three romantic options have no further personality than what I have already described, nor does the unfulfilled and indecisive protagonist.
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