Waste of Money.

Too much of everything

To all those who have watched it: I hope you enjoyed it as much as I do.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

For this reviewer at least, a film with a good part for Alan Alda can never be judged a dead loss, and this is the case in George Tillman Junior's bringing to the screen of Nicholas Sparks's novel "The Longest Ride". Somewhat artificially, Alda as the ageing and now-hospitalised Ira Levinson tells his long story of love and WW2 service and injury by having letters written by his younger self (ably played by British actor Jack Huston) to his escapee-from-Austria girl Ruth (Oona Chaplin) read by University student of Polish extraction Sophia (Britt Robertson).In some measure, the story of Ira and Ruth is paralleled in our time by that of the people who have rescued the former from his car accident, i.e. Sophia herself, and her newfound guy Luke (as played by son of Clint, Scott Eastwood).In fact, there's quite a bit of cliché and syrup in there, as well as heavy doses of hopeless love, lost love, regained love, forbearing and sacrificing love, resentful love, career versus love and so on, and not all of the contexts are especially plausible or well-done. Ira's GI wartime recollection in particular begs a military historian's question as to where and how, while the ending looks a mite too mushy and "just-so" to tolerate readily.Ironically, given this sketchiness, the one (major) aspect of the film rendered with remarkably raw clarity and authenticity - indeed in near-documentary style - is the above-mentioned "elephant in the room", i.e. the fact that Luke is a cowboy-rancher (albeit one from North Carolina!), and in fact a Professional Bullrider of America. Given that this is a man who (repeatedly) seeks to remain for at least 8 seconds on a bull which really DOES NOT want to be ridden, it might well be argued that at least 78% of the potential audience for a film of this otherwise-romantic genre has been lost right there! An interesting (possibly even courageous) approach from the makers, then? Clearly, this "sport" has at least a measure of cruelty associated with it, and it is shown here in pretty exhaustive detail, in what is in no way a critical presentation.After some soul-searching and with misgivings, my wife and I powered on through this, deciding to accept the core of the Sparks story as it was designed to be, (from our point of view) warts and all.And the film of course does likewise, not offering the slightest suggestion that what is being portrayed might be for some - indeed many - controversial or questionable, or simply archaically other-worldly and aberrant.And it has to be conceded that the self-belief present in the piece does achieve a lot in emerging triumphant from the mix of possible tastelessness and implausibility. Alda does his job as well as may be expected, and the just-meant-to-be Robertson-Eastwood pairing of opposites has both its personality-related and physical attractions (needless to say, the film eventually finds an opportunity to depict them unclothed, and it's easy enough on the eye).So, those who come to "The Longest Ride" expecting a tearjerker love story (in fact two love stories) with frills attached, will not I feel be disappointed, albeit with the big proviso that they can handle the bull-riding subject matter - and that is a rather big "if", I believe.

Just as all other Sparks' cheap harlequins, the film features a second-hand plot, shallow characters, utterly horrible writing (the film kept me smirking throughout) and a lot of manipulative strategies aimed to jerk a tear or two out of unsuspecting viewers. Not to mention abundant sexist themes which even I found downright offensive despite being quite insensitive to these as such (as they were not a part of jokes but rather a part of the universe Sparks imposes upon his readers/viewers).Must watch. Not.

Sophia Danko (Britt Robertson) is a Wake Forest senior set to work an internship at a Manhattan gallery after graduation. She gets drag to a rodeo by Marcia (Melissa Benoist) and falls for bullrider Luke Collins (Scott Eastwood) who is trying to make a comeback after an injury. His mother Kate (Lolita Davidovich) wants him to quit fearing another life-threatening injury. Driving back from a date, the young couple encounters a crash and rescues Ira Levinson (Alan Alda) with a box from the burning wreck. The box is filled with letters. At the hospital, Sophia reads them to Ira. There are flashbacks of a young Ira (Jack Huston) and his tragic love for Ruth (Oona Chaplin).It's another Nicholas Sparks special. This one is not trying to be quite as clever which did throw me a little. I kept waiting for a family connection between Ira and one of the young lovers. It's good that he doesn't succumb to the temptation. Jack Huston and Oona Chaplin don't have quite the charisma. They are more character actors. Eastwood is really pretty but he doesn't have the intensity or the charm of his father. Robertson continues to be adorable and has charisma to spare. They are two young pretty people with limited actual chemistry. They make for a beautiful picture with little depth. Alan Alda adds weight to the proceedings. This Sparks adaptation isn't as overtly manipulative but that does not make it good. The ending doesn't make me roll my eyes and that's pretty good for Sparks lately. I simply don't feel for either romances in the two different eras.

I was a good distraction watching that movie. Cinematography going over North Carolina beautiful scenery with green meadows and idyllic lakes was very impressive. Acting was also persuasive by two protagonist beautiful couples twin crossing the decades. But there was no point other but a general odd to eternal, true love that overcomes obstacles. Those last, were not persuasive at all. Loving painting art and rodeos doesn't make an obstacle - since dependent couple didn't care as they pass a very good time in the ranch riding, watching bull fighting, passing time together in the cozy Texas-style ranch. As for the first couple – the older one, Ruth comes back to her husband Ira not caring about "poetic permission's" injuries of the past. Movie recommended for the very good acting of the two young couples and the beautiful landscape scenery - skillfully filmed, issued to a very good cinematography and that's all.