Quite apart from the fact that it's spectacularly uninventive and uncontroversial, it's just such a luvvie-fest.
Bobby (2006)
Runtime: 2 hrs
Genre: Dramas
Starring: Anthony Hopkins, Demi Moore, Sharon Stone, Elijah Wood, Harry Belafonte
Reviews
Strong on stars but short on real drama. Impressive but ultimately unmemorable.
This dim movie invites suicidal comparison with Altman's ensemble pieces.
It makes you wish you were watching a biopic of Robert Kennedy instead.
If Estevez’s drama had been as strong as [RFK's] speech, Bobby would have been a far better film.
Using his haunting elegy for Martin Luther King over the final scene, Estevez makes most of what's gone before seem entertaining enough but fairly trivial. This is not, after all, Grand Hotel.
It's hard to dislike a film with such laudable ambition. But watching this feels like being kidnapped by a hippie parade.
You can understand why somebody would want to make a film about such a famous "lost moment" in American history, but this celebrity ensemble piece is misconceived and poorly managed.
The film plays more like an episode of The Love Boat than hard-hitting cinema.
So, yet again, Hollywood's elite has produced a political tract that plays fast and loose with history from an empty-headed, politically correct perspective.
A historical timepiece reverberating now. Preachy in parts, but Estevez’s Who’s Who of Hollywood lights up an impressive ensemble drama.
Few of the characterisations could fill the back of a matchbook, and, in refusing to see RFK as anything other than a liberal messiah, the film meanders through its political context with a white stick and a dopey smile.
Liberal Hollywood may well be looking for a uniting, inspiring figure of principle in these troubled times. Bobby Kennedy is a dull choice.
The profound grip of Bobby is that it’s about the murder of a dream, an eloquent requiem for what might have been, and a tragic reminder of how much that bullet cost.
It's uneven but when Bobby's at its best it's unbelievably good.
Presents a blinkered look at the man and what he meant to Americans in the turbulent 60s, but nobody can accuse Estevez of lacking sincerity.
A remarkable ensemble in an uneven patchwork of loss, longing and the urgent necessity of a societal rethink.
Sprawling and fragmented, this multi-strand film comes together with a surprising punch in the end.
[Estevez's] attempt to shoehorn what he sees as the grand themes of the period into a choppy, unsubtle and insubstantial script is embarrassing.
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