"Bobby" is both a crowning achievement for Estevez and the years must see movie. Here's hoping Robert Altman got to see it.
Bobby (2006)
Tomatometer
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Reviews Counted:161
Fresh:72
Rotten:89
Average Rating:5.6/10
Consensus: Despite best intentions from director Emilio Estevez and his ensemble cast, they succumb to a script filled with pointless subplots and awkward moments working too hard to parallel contemporary times.
Runtime: 2 hrs
Genre: Dramas
Theatrical Release:Nov 17, 2006 Limited
Box Office: $11,098,707
Synopsis: An ambitious labor of love from writer/director/star Emilio Estevez, BOBBY attempts to distill the hope, anger, and confusion that gripped the U.S. in the late 1960s. With the civil rights movement... An ambitious labor of love from writer/director/star Emilio Estevez, BOBBY attempts to distill the hope, anger, and confusion that gripped the U.S. in the late 1960s. With the civil rights movement still reeling from the murder of Martin Luther King, Jr. and the country embroiled in the confusion of Vietnam, Senator Robert F. Kennedy's campaign preached a message of peace and tolerance. In a style similar to the sprawling works of Robert Altman or Paul Thomas Anderson, Estevez uses the June 4th, 1969, assassination of Kennedy at the Ambassador Hotel in Los Angeles as the means to take a snapshot of the problems facing the country as the 1960's came to an end. The hotel is a microcosm of class and race, with characters bouncing off each other until the violent conclusion. African-American head chef Edward (Laurence Fishburne) presides over a kitchen staffed primarily by Mexican Americans who are the victims of the racist restaurant manager, Timmons (Christian Slater). Timmons is reprimanded by hotel manager Paul Ebbers (William H. Macy), who is having an affair with a switchboard operator (Heather Graham) behind the back of his beautician wife (Sharon Stone). Meanwhile, a young Diane (Lindsay Lohan) prepares to marry her classmate, William (Elijah Wood), in order to save him from going to Vietnam, and two collegiate campaigners for Senator Kennedy remove their ties to take their first LSD trip, courtesy of a resident hippie drug dealer (Ashton Kutcher). Though the sheer volume of characters--and celebrities portraying them--is often overwhelming, Estevez is deft at making each plot thread convincing and involving. Though BOBBY is not a biopic and will in no way be mistaken for the definitive statement on the man or his life and times, it is thoroughly adept at distilling both his message and the time in which he fought to deliver it. [More]
Starring: Anthony Hopkins, Demi Moore, Sharon Stone, Elijah Wood
Starring: Anthony Hopkins, Demi Moore, Sharon Stone, Elijah Wood, Harry Belafonte, Nick Cannon, Emilio Estevez, Laurence Fishburne, Heather Graham, Helen Hunt, Ashton Kutcher, Shia LaBeouf, William H. Macy
Director: Emilio Estevez
Director: Emilio Estevez
Producer: Ed Bass, Holly Wiersma
Composer: Mark Isham
Studio: Weinstein Company
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Reviews for Bobby
Robert Kennedy won the California Primary that night. History will show that he was shot moments after claiming victory, gunned down while walking through the kitchen of the Ambassador. However, with "Bobby," his message continues almost 40 years later.
One of the key problems with the new Robert Kennedy biopic, "Bobby," is that it never is as compelling, necessary or as thought-provoking as RFK's ideas, nor is it as interesting or as tumultuous as the time it depicts.
Estevez’s plan to honor RFK feels more like exploitation of the footage to give his movie energy and an emotional context it doesn’t otherwise have.
For all his good intentions, Mr. Estevez has reduced history to a bad melodrama in which nothing much happens until a crazed assassin (of whom we catch only a fleeting prior glimpse) supposedly destroys the last great hope of a liberal renaissance.
Emilio Estevez's inventive and passionate "Bobby" is so timely today %u2014 in a world lacking justice and peace and in much need of a strong and convincing leader.
While it includes excerpts of some RFK speeches, Bobby provides no insight into the man and his politics, choosing instead to flit among the insipid soap opera storylines.
Not because of its overly ambitious screenplay, but because of its heart, its performers and its shots of real-life subject matter, "Bobby" is better than average.
As we experience Kennedy's compassion and eloquence in newsreel footage and hear the campaign speech he delivered that night, we comprehend the film's overwhelming sense of loss.
What I resent most about Bobby is that it's so obvious that it has no ability to be meaningful. It's like making a movie about how the ocean is wet. Who doesn't know that?
A document to the idealistic spirit of RFK's times. Estevez, in a trifecta as director-screenwriter-star, brilliantly succeeds in all aspects.
In what is clearly a labor of love, Estevez has assembled an extraordinary cast to present a mosaic of American culture at one of the '60s' key turning points. Estevez may milk the final sequence a little too long, but the result is deeply affecting.
...[a] notoriously uneven political melodrama. In short, Bobby deserved more than what it got from its sprawling yet cluttered scope of transparent convictions.
A very good film, a deeply felt film, and even in its occasional missteps is miles ahead of the simplemindedness of last year's Crash, to which it has been compared.
What registers is the movie's cross-section of people (an ensemble cast selected from all corners of the Hollywood map) pulling together for a common future.
There are so many people involved that none of them are given a chance to be special or memorable, until they become victims of a senseless act of violence.
One awful 'dramatic' scene follows another, until we become almost awed (wait until you hear Fishburne's chef deliver a metaphorical speech about blueberry cobbler).
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