Genres

Visitors Review

michelle_mabelle 2012-05-19 22:25:05

Gripping Nostalgia

Bobby is a drama focusing on the events at the Ambassador Hotel, theday Robert F Kennedy was shot there in 1968 (also the day of the '68presidential elections). Including such stars as Martin Sheen, DemiMoore, Lindsay Lohan, Ashton Kutcher, Helen Hunt, Sharon Stone, ElijahWood and William H Macy - gasp for breath - it does at times becomedistracting, but this is balanced by the fact that almost allperformances are strong and engaging. Instead of hiring an actor toplay the eponymous RFK himself, old footage is used and worked throughthe drama convincingly, especially towards the grippingly tragicclimax. So, if the story doesn't centre around Robert, what does itcentre on? Well, the clients and staff at the hotel. It doesn't divideanyone into pro-Kennedy or anti-Kennedy groups - although the RFKcanvassers are a safe bet for the former - instead attempting to bringforward a fractured picture of America as it was at the time.Particularly interesting were the stories of the hotel beautician(Sharon Stone) and her unfaithful husband, the manager (analways-credible Macy); the young Mexican waiter (Freddy Rodriguez, who,while notionally too old for the part at twenty-eight, was otherwiseperfectly cast) struggling with inequality; and Wade and Dwayne (JoshuaJackson and Nick Cannon respectively), the younger Kennedy supporters,in awe of the great man's human touch.However, the expanse of interwoven threads does have its weaknesses,such as the tale of Diane - played by an earnest Lindsay Lohan - ayoung woman who's planning to marry her former classmate (Elijah Wood)to save him from a draft to Vietnam. While it's given a promisingstart, it's soon allowed to descend into a disappointing cliché, andneither of the actors really inhabit the time or role. The adjacentstory of two Kennedy campaigners, Cooper (Shia LeBeouf) and Jimmy(Brian Geraghty), who decide to take election day off to drop acid withdown-and-out hippie Fisher (an almost believable Kutcher), relieslargely on cheap laughs, but is rescued by LeBeouf and Geraghty'sstraight-faced performances and realistic relationships - in particularwith the lovely Susan Taylor, played by a sweet, convincingMary-Elizabeth Winstead.By neglecting to include the assassin in its overly-long list ofcharacters, the purpose of Bobby becomes clear. It is not intended asan unbiased look at the past, nor as a lesson for today's society (whatcan we learn from a nameless, faceless killer?); rather, as an exercisein nostalgia, where a man who died too young for the public to havereal cause to doubt him can be viewed in rosy colours. Indeed, Robert FKennedy could have been the leader America needed, but there is nothingto be gained from that line of thought - Bobby shows us a loss,certainly, and perhaps one of great sorrow, but we shall never knowquite how deep that sorrow is. And by making the man a hero before heever had a chance to prove just what he was, we lose perspective.For all the nostalgia, however, the film is immensely enjoyable. Thoughthe dialogue is sometimes embarrassingly clichéd (Lawrence Fishburne'sspeech about "the once and future king" is woefully out-of-characterand obviously scripted), the cinematography is, for the most part,beautiful. It doesn't quite achieve the same 1960s look and feel asother modern films set then (such as the superior, but entirelydifferent Catch Me If You Can), and it does suffer slightly from thelack of it, but the pacing is excellent and those without particularinterest in the decade may not notice. Flawed, but worth seeing, Bobbyat least did what it set out to do - bring RFK's tragic assassination,and all the associated grief, to a new audience, in a new way.

bigfanofthebob42 2012-05-19 08:37:01

A Painful Failure On Almost Every Level

If Bobby Kennedy was the reincarnation of Nostradamus instead of thereincarnation of Jesus that this movie makes him out to be and knewthis movie was going to be made one day, he would have done a Matrixmove that night and dodged those bullets. Headlines around the countrywould have read "BOBBY DODGES ASSASSIN'S BULLETS; BECOMES AWESOMESTPERSON TO EVER LIVE;CHUCK NORRIS ROUNDHOUSE KICKS SELF IN DEFEAT". Emilio Estevez, attempting to make a Robert Altman movie about thattragic night when Kennedy did not dodge those bullets while forgettingthat Altman makes (well, made, rest his soul) movies about real peopleas opposed to symbolic mouthpieces for misguided speechifying andtransparent, heavy-handed period-evocation, has made what some mightcall this year's Crash: a big ensemble drama that is About Things withall the subtlety of one of Charlton Heston's climactic outbursts at theend of almost every movie he was ever in. But Crash was competentlywritten, acted, and directed, and is a fairly interesting and lucidpiece of thought-provocation, regardless of its contrived, sledgehammertactics. I'm not sure what Bobby wants to be about. It would appear tobe an attempt to explore via cross-section what was probably the mostturbulent passage of 1960's American history, but the writing is soawkward and the interconnected stories so hamfisted that the finalproduct seems to suggest that the second Kennedy assassination of thedecade was simply the only thing that wasn't boring and ridiculousabout the day on which it occurred.The final passage, in which the characters shut up and the event thewhole mess has been building up to finally occurs, has an undeniablepower, but all that's left after the smoke has cleared is ineptpseudo-liberal pornography, saying nothing in particular with anythingapproaching actual eloquence. The most laughable passages involve twocampaign workers doing acid with possibly the most glaring andunintentionally hilarious hippie stereotype seen on film since theanti-drug propaganda of the day, played perhaps fittingly by masterthespian Ashton Kutcher. His performance suggests a degree ofself-awareness that the more respectable actors in the cast (let'ssee...that's all of them, barring perhaps Christian Slater, fresh offhis performances in Uwe Boll's apocalyptic semi-masterpiece Alone inthe Dark and the direct-to-video Hollow Man 2) miss entirely in theirdesperate, flailing grabs for emotional resonance in Estevez'sgraceless prose. While Kutcher's (possibly unintentional) aura ofself-awareness is perhaps the only thing that sustains his career, herehe seems to be the only one who realizes that he's being Punk'd by thiswell-meaning garbage.It also has been made with a disrespect for non-Kennedy-related historyand plain old facts. A large part of it tells the stories of the otherpeople who were shot that night, but their stories here are entirelyfictional. The subplot involving Elijah Wood marrying Lindsay Lohan toget out of the draft is completely worthless, not just because Lohan isa bad actress and every subplot in this mess is worthless, but becauseeven the users of the IMDb apparently knew more about this than thefilmmakers did and have, God bless them, pointed out the fact that themarriage loophole was closed several years before the events in thefilm. The film traffics in faux-liberal "truthiness" like StephenColbert's faux-conservatism does. While I can get behind artisticlicense being taken when it makes a true story more cinematic, here itjust allows the creatively bankrupt but morally righteous Estevez todrag the proceedings into a mire of clichés that might not have beenthere in the first place.The whole cast, even the talented portion, (William H. Macy, AnthonyHopkins, Morpheus) does work ranging from mediocre to outrightembarrassing. It's hard to tell whether Demi Moore's horribleperformance as an alcoholic singer was just because of Estevez's scriptor the fact that she should be kept as far away as possible from acamera at all times. There's also some inexplicable rambling from theinexplicable Helen Hunt, whom within her first minute of screen time Iwanted to reach through the screen and sucker punch in the ovaries. Itgets so bad that her husband, Martin Sheen, grabs her and says "YOU ARENOT YOUR SHOES!" This isn't what I would have done, but it makes aboutas much sense as the rest of the script.Bobby is the worst film I've sat through in a theater all year. Thismight say something about how choosy I am with which films I see, buthere the writing is so bad and the storytelling so misguided that I wassquirming in my seat for long stretches of the film, and I never dothat. That it's been nominated for Best Drama at the Golden Globes saysmore about the relevance of the Globes than it does about the qualityof this abortion.

Dan Grant 2012-05-18 00:49:34

Isn't this supposed to be about Bobby Kennedy?

When I was 19, I knew nothing about American politics. I knew nothingabout world affairs and I knew nothing about secrecy in the governmentand that big business and government were in bed with each other. Thatall changed in the middle of 1991 when I went to see Oliver Stone'sJFK. From that day forward, my eyes were wide open. I'm not here to saythat every political film should be like JFK. I'm not even here to saythat another film can duplicate the complexity of that film. But man,if you are going to make a film about an assassinated leader, is it toomuch to ask to make the film about him, and not about the people thathad nothing to do with him? If I wanted to watch a film about a soapopera, I'd rent SOAP DISH with Whoopi Goldberg. But if I want to watcha film that is supposed to be about Bobby Kennedy, then I'd like tolearn something that I don't know anything about. You will not findthat in this film. And that is a shame, because it is well acted,written and directed. It just doesn't have a point.As we all know, Sirhan Sirhan shot and killed Kennedy. But his nameisn't mentioned in here once. In fact, we get more screen time ofAnthony Hopkins and Harry Belafonte playing chess than we do of thekiller. And here is the problem with the film. The characters areinteresting and well written, but there is no point to them. Helen Huntand Martin Sheen play an unrealistic couple, unrealistic in the waythat they have no chemistry together. Both are fabulous actors, buthere they have no spark, no believability and no resonance with theaudience. Hunt's major hangup is that she cannot decide what shoes towear to the ball that night. Then you have William H Macy who is havingan affair with a switchboard operator, who is played by Heather Graham.And we have an alcoholic lounge singer and her estranged husband, whois the only one who really has contact with Sirhan, in a very quick butnice scene. Then you have a young woman who wants to marry a youngclassmate to keep him from going to Vietnam and you have a racistkitchen manager, a baseball fantastic and his other cook friends whoare all minorities and of course an acid druggie and two newbies. Allof this sounds interesting....in another movie. But not one about theonce future president of the US. Like I mentioned at the beginning, youdon't have to make a conspiracy film about RFK, but some incite as towhy it happened, and who was behind it would have been nice.Bobby is an ambitious failure, but it is a failure nonetheless. Iwanted to know more about the man and his policies. I wanted to knowwhy he was killed. But this film gives us characters that may or maynot have been real. They might be based on the times, but they didnothing to enhance the story behind the man. And that is unfortunate asit looks like Estevez worked diligently to put together a multi layeredscript with an eclectic cast and eclectic cast of characters. But itunfortunately doesn't amount to much. And when potential is notrealized, that is a shame.5/10

Angela Baldassarre 2012-05-17 14:05:01

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.

drumar25 2012-05-16 09:08:09

Worst movie I have ever seen

This has to be the worst movie I have ever seen. Lets get every actorand actress in Hollywood, a popular historical figure to base the movieon and add many disjointed uninteresting stories into it and see whathappens. What happens is you get a very bad movie. The historical valueof the movie is next to bill, so I was at least expecting a decentstory, but it does not deliver there either. How this has a compositescore of 7 is beyond me. Stay away from this garbage. Has Hollywoodreally run out of ideas? I hope the talents that brought us thisseverely lacking piece of cinematic sewage stay far away from directingand cameras in the future.

bob the moo 2012-05-16 02:41:37

Imperfect but engaging and well crafted ensemble piece

It is the 6th June 1968 and the staff and guests at the AmbassadorHotel prepare for the arrival that evening of Senator Robert Kennedy asthe conclusion of the Californian primary race. While the focus thatevening with be Bobby, the day unfolds differently for a diverse groupof characters in and around the Hotel. As the events of that fatefulevening approaches we follow the lives intertwining around that day.Don't get me wrong, as a regular "economy class" flier, I like the waythat more and more each seat has a little television for each passengerto watch, but the downside is that when some inconsiderate Spanish twitdecides to fully recline his seat within 5 minutes of leaving theground so that the screen is an inch from your nose and at an anglewhere the screen can't be seen without slumping down further in yourseat. This happened to me (and indeed the same guy later tried torecline his seat even further by ramming it back, into my face, leavingme with the nose bleed from h3ll) and it is to the credit of this filmthat despite the obstacles to viewing, I still found myself engaged byit. Not knowing a great deal about Bobby Kennedy I was initially a bitdisappointed that the film was focusing on this disparate group ofcharacters rather than the man himself but effortlessly the film seemedto draw me into these characters to the point where I felt I wasbuilding to something, which indeed I was.Individually no one story or character is strong enough to carry anymajor part of the film and even thinking on it now I would struggle toreally pick the strongest threads but the approach just about works. Iwasn't completely sold on how the threads are tied together but the wayit was delivered covered these doubts and it was only reflecting on themeaning of them later where it started to flake apart a bit, but in themoment it all makes sense and works. As with many people I waspleasantly surprised by Estevez's work as writer and director. Itprobably helps to get everyone famous you have ever met agreeing to doa few days work for you but even with that the script and the directionare both good at worst.The script does deliver good characters that are brought out well. Noneof them really felt clunky and only here and there did I feel they werebeing forced or obvious (like holding up a billboard describing theircharacters in one line). It is difficult to pick anyone out forspecific praise because everyone worked well in their own way. Cannonwas perhaps a surprise but the presence of Kutcher was not that welcomeor necessary from my point of view and his drug scenes were overdone atthe expense of some of the more interesting character threads. Stoneand Moore were both good and both worked well with difficult charactersboth facing aging as issues (Moore was particularly close to the bone Ithought). Despite my concern about Kennedy himself being a side issue,Estevez did well to bring in archive footage and paint the proceedingswith an awareness of how important he was and perhaps could have been.Overall then it is not a perfect film and it is understandable why someviewers have disliked it. For me though the tapestry of characters andflow of narrative worked surprisingly well and credit for Estevez for ajob well done. Not as Altman as some have claimed but still anaccessible and engaging little film.

2012-05-15 06:29:21

Not what I expected but was pleasantly surprised!

If there is anyone out there like myself who didn't read up on themovie prior to seeing it, I'll let you know now.........it isn't abiography on the life of Bobby Kennedy. In fact during the firstfifteen minutes I started to wonder if I was in the right theater! Ididn't understand how all these people's lives tied into or hadanything to do with the shooting of Bobby Kennedy. I can tell you I wassurprised and impressed by this movie. I felt it was well written andwell cast.........and what a star studded cast it was! Interestingthroughout and certainly touching at the end. Listening to BobbyKennedy's speech while watching scenes (actual and fictional) of hismurder was heart wrenching! I would certainly recommend this movie andwill not be surprised to see a few major awards come out of it as well.

Sean Means 2012-05-14 21:23:36

Bobby shows how some people's problems become small and insignificant in the face of momentous events. But in so doing, the movie reveals itself to be small and insignificant, too.

laialkicksass 2012-05-10 08:44:40

The way everyone's lives was affected by Robert Kennedy's murder.

This was such a great movie. I was dragged to it unwillingly by myinsisting dad, I had only seen old people and boring war tales. I hadno idea what an excellent piece of work I'd have missed. First of all, there's all the typical lives of people, who are in thehotel where Robert Kennedy was assassinated. From rich people to not sorich, from old to young, from famous to low profile.The thing I liked the most was the whole LindsayLohan/ElijahWoodromance. It was very sweet and it gave teenagers around my age a reasonto see the movie- very smart. I don't think I'd have liked it if itwasn't for the young profiles :-P.Thing is, you have to see this movie. The way they mix the real videowith the movie filming is excellent- so touching. I give it 5 stars andbelieve me, it deserves more.

Frank Swietek 2012-05-09 20:19:12

An earnest film that shows an advance in Estevez's filmmaking technique, but one that--given its setting--seems curiously shallow, even trivial.

David Edwards 2012-05-03 14:19:19

Meandering, maudlin and totally missable.

Harvey S. Karten 2012-05-03 07:13:28

Estevez deftly weaves a stories of ordinary Americans into aglorious tapestry, activities and conversations occurring onthe day Bobby Kennedy was assassinated.

Matt Brunson 2012-04-30 18:41:10

If Robert Altman had been dropped on his head as a toddler, Bobby is the sort of movie he might have ended up making.

John DeSando 2012-04-30 07:12:51

He's no Altman.

"His passion has aroused the best and the beast in man. And the beastwaited for him in the kitchen." Theodore H. White The film clips of Bobby Kennedy before his assassination are a starkreminder of the Kennedy charisma and the loss to America both brothers'deaths brought. Besides the obvious Crash parallel, Emilio Estevez'sBobby takes a Robert Altman approach to the day of Robert Kennedy'sdeath to show in the hotel the intersecting lives that will be definedby this history.Estevez has neither Altman's genius for overlapping dialogue nor hiscreative characterization. The vignettes are about people such as aphilandering hotel manager (William H. Macy) and a windy chef (LarryFishburne), along with an equally surface retired doorman (AnthonyHopkins) and an old and sentimental guest (Harry Belafonte), to name afew. Even Demi Moore as a famous lounge singer and Sharon Stone as abeautician philosophize about growing old. I just can't rememberanything they all said or did that was memorable or even relevant tothe tragedy about to occur in the Ambassador Hotel.Perhaps the point is that they are allowed to age with unremarkablelives while this young leader would be shot down never to fulfill hispromise of liberating America from Vietnam and the hotel Latinolaborers from dead-end jobs.You have to admit, even these cursory plot points are hardly the stuffto accompany a real-life tragedy. Altman's Nashville depicted theplayers before a fictional assassination, yet they remain vivid in mymemory decades later. All I'll remember from Bobby is how Stone andMoore are aging and how foolish the young Heather was to give herselfto Macy's uptight manager without seeing the thousands of men who wouldlove to date her."Has anybody seen my friend Bobby? Where has he gone?"

Joe Morgenstern 2012-04-27 05:55:20

Emilio Estevez's Bobby tests your patience to the breaking point -- maybe beyond.

Kara Dahl Russell 2012-04-26 09:42:55

Bobby's words & Stone's performance lifts this out of listlessness.

Emilio Estivez wrote and directed this film. It is, above all else, atribute to, and reassertion of the words and work of Bobby Kennedy.Documentary footage and audio are integrated throughout this productionto make him live again in this film.This is one of those pastiche films of people "sharing a moment oftime" when separate lives all intersect through fate (a style which isnot my cup of tea). Unfortunately, there is an awful lot to wadethrough just to get to that moment, much of it banal. This film triesso hard to be historical, timely, and PC all at the same time, that itis utterly devoid of charm or interest. The cast is so chock full of luminaries that it looks like a remake ofSpelling's HOTEL, or SHIP OF FOOLS, with the same amount of soap operastory lines. Unfortunately, the famous faces are often extremelydistracting. Oh! Look! It's Frodo getting married! I wonder if he isusing "precious" as the ring? This film would have benefited enormouslyfrom casting mostly little known faces, especially when you get to thepay off scene. Surprisingly, the stand out performance is Sharon Stone as asadder-but-wiser gal, a hotel salon hairdresser married to thephilandering manager (William Macy). I love it when a familiar actressactually brings new facial expressions to the table, and here sheproves herself a strong character actress (like a sequel to her strongwork in CASINO, but a more down-home character). The strongest scene inthe entire film is between Stone and Demi Moore as an alcoholicperformer/diva. Moore evokes Joan Crawford in her later years,dependent on large wigs and alcohol. There is something touching and a little scary about these gaunt,overly tanned women (Helen Hunt, too)… some of this must be make-up,because that "beached, bleached and smoked look" was in vogue with thecountry club set at this time period, but it's a cautionary tale aboutskin like leather stretched over a skeletal frame. So…that IS relevant,isn't it?! Estivez wisely gives himself a very small role, but sympathetic, and(other than Kennedy's) the most memorable line of the film. HarryBelafonte and Anthony Hopkins quote GRAND HOTEL at the onset of thefilm, but this is no grand hotel. Too much happens, and everythingchanges. It's almost painful to see these two lions in these roles withmeaningless dialogue, just filling time. I was just so relieved whenthis film was over! Finally! The words of Kennedy remain relevant and inspiring, and BOBBY makes melong for a really good bio documentary of his life instead of thissound and fury cavalcade of stars tribute.

DonFishies 2012-04-23 04:29:03

Powerful, flawed and heartbreaking

For all of his faults, Emilio Estevez is not all that bad an actor.Sure, he is a has-been in the truest words, but looking back on hiscareer prior to the two sequels to The Mighty Ducks, it is not halfbad. I have always been an oft fan (in both the truest sense and theparody sense), but after seeing the trailer and hearing about Bobby, Iwas very excited to see how his personal project turned out. And ofcourse, for his first major Hollywood production, it has a fewproblems. But he more than makes up for them.Bobby is a character-driven ensemble revolving around the AmbassadorHotel on June 4, 1968. Most people already know, but the date shouldring bells, as it was the day that presidential hopeful Robert F.Kennedy was fatally shot. The film, despite the title, uses Kennedy asthe main focal point of the film, but the varying cast of charactershave very little to do with him. Most of them are either visitors orworkers at the hotel (and a small few belong to the Kennedy's campaigngroup), and the film is told from their points-of-view with frequentmelding of vintage and news footage of the man himself.Estevez should be proud of himself. For a film with such a huge scope,he does very well for himself. He writes, directs, and even has time tostar in the film in a bit part. A lot of work for just about anyone,but Estevez makes the film so graceful that you would probably nevereven know. His seamless blend of old and new footage is remarkable andstartling in its immediacy. We all beg for change now in the currentpolitical landscape, and Kennedy was aiming for the same thing. Takenaway from before his time, Estevez aims to show the audience how thingscould have changed had tragedy not have struck. Even without knowingmuch about Kennedy, anyone should be able to watch the film and beimmersed in it properly.The cast is uniformly excellent. From the newest of Hollywood bloodlike Freddy Rodriguez and Mary Elizabeth Winstead, to other has-beenslike Demi Moore, Sharon Stone and Christian Slater, Estevez manages tocoax excellent and harrowing performances from all of them no matterhow large or minuscule the performance is. He even manages to get somegreat work out of Anthony Hopkins and his own father, Martin Sheen.Useless and disposable actors like Shia LeBeouf and Nick Cannonespecially shine here, really getting to show off some form of actingchops that their usual fare does not allow for (same goes for LindsayLohan and Ashton Kutcher, although his tiny role is not much a stretchfor his acting capabilities). Everyone seems focused and at ease intheir roles, and all of their acting styles really mesh together tocreate some great dialogue and chemistry for each other.Even better are the visuals. The film is slightly contemporary, but youcan feel the genuine 1960's echoing throughout. Even when the filmjumps between vintage footage and new footage, there is very little tosee that is different. They look the same, and for the most part, feelthe same too. The use of vintage reels from Vietnam and Martin LutherKing Jr. are also a great touch. The use of certain tunes really helpto drive the point home as well.But for everything he did right, Estevez scored the biggest with how hehandles the shooting of Kennedy. The pandemonium and the graphicviolence involved is at once horrific and heart-wrenching. No one jumpsout of character, and everything stays very centred on the moment thatchanges everything. It hits you hard, and grips you right up until itsfinal frames. Seeing Estevez's take, albeit fictional, alongside thebrief moments of the actual footage is what is the real marvel and whatreally makes the film such a must-see. If everything looked and feltthe same through the rest of the movie, it practically is exactly onein the same here. He allows the audience to immerse themselves so farinto it, that when the obvious shooting sequence finally, it hits likea ton of bricks. It really hits at the emotional psyche, and will leavemost people either weeping or on the brink.Of course, the film does have its problems. Even though the charactersare all inexplicably tied together, some of them feel a little off.Some are just completely useless, and others just feel so downplayedthat they are almost at the point of being useless. The extendedsequences of the LSD trip between LaBeouf, Kutcher and Brian Geraghtyare especially awkward, as they feel out of place, and take away fromthe film as a whole. Being such a powerful and epically scoped film,this should come as no surprise to anyone. But while Estevez does avaliant job covering up his faults, some of the parts he missed paddingare glaringly obvious. The great work of his cast trying to help coverthese moments up is also a testament to how well Estevez pulled thisoff. Some of the dialogue also echoes a sentiment of not beingplausible in the 1960's. It does have the issue of taking the audienceright out of the correct time period, but thankfully this does nothappen all too often.While it has issues, Bobby still successfully manages to be powerfuland devastatingly heartbreaking all at once. It is a testament toKennedy, and is a fantastic accomplishment for Estevez on all fronts. Ijust hope it gets the recognition it deserves.8.5/10.

Janos Gereben 2012-04-22 22:39:47

Bobby has a spectacular cast, and Estevez has another twist there: well-known, famous actors play unexpected roles, try 'something different.'

shoehead 2012-04-16 19:30:48

more fitting now than ever

If Emilio Estevez is not nominated for best original screenplay,consider it a crime. He should win hands down. Each backstory - andtheir are many - are resonant themselves. But bringing them alltogether with the words of Bobby Kennedy makes it that much moreimpactful. As a Canadian, I didn't know much about RFK, and yet so much about JFK.(Teddy I can identify with but that's another movie - and I think itwas called Animal House) It's a shame his legacy was a bit lost underthe shadow of his brother. He had ideals that would have served theworld well then, and more importantly now. Estevez lets RFK quotes wrap things up in a nice warm bow. It's atragedy that Bobby was lost as a person, but his words saved forevercan only serve to inspire. At least I hope so. America and the rest ofthe world could do well to listen. Especially now.

Kathlyn 2012-04-16 06:12:00

Brilliant acting, writing, settings, historical accuracy, and directing! The blueberry pie scene alone is worth the price of admission!

I saw "Bobby" on Thanksgiving Day and I am sure thankful that I did. Iwas almost eighteen at the time the movie is taking place, so viewingit was like beaming back into the events of my past. Tears flowed thistime around, too.I really loved how Emilio incorporated film and audio of the realevents as they are taking place to splice into the beautiful fabric ofhis story. I felt like I was there. I almost started coughing from allthe seventy's cigarette smoke. The makeup, hair, wardrobe, setdressing, all of it was wonderful. When the shooting took place, theclock in the background said a certain time. A minute later AnthonyHopkins' watch was barely shown, and it was the correct time, too.Little details like that are important and add to the reality of themovie.One of the most profound, brilliantly acted, directed, written, andedited joys in film history is the blueberry pie kitchen scene. It is agem. Priceless and flawless as any diamond. That scene alone was worththe price of admission.Regardless of your political ideas, "Bobby" is a movie for anyone wholoves good old fashion films that deliver. Go see it.