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Reviews provided by RottenTomatoes
Jessica Reaves, Chicago Tribune: A daring, messy and strangely rewarding patchwork that's straining at the seams. Read more
Christy Lemire, Associated Press: Estevez probably could have cut the cast in half and come up with a richer, stronger film. Read more
David Edelstein, New York Magazine/Vulture: Despite the clunkiness, Estevez's commitment to his father's generation's idealism (and its murder) commands respect. Read more
Rex Reed, New York Observer: Every frame is informed and fueled by Mr. Estevez's impassioned mourning for a figure who came close to changing the course of American history. Bobby is exciting, involving and riveting. Read more
Joe Morgenstern, Wall Street Journal: Emilio Estevez's Bobby tests your patience to the breaking point -- maybe beyond. Read more
Moira MacDonald, Seattle Times: Ultimately rises above its inadequacies; it's an earnest tribute to a time gone by, and to a symbol of hope. Read more
Mick LaSalle, San Francisco Chronicle: With one film, Estevez has transformed himself from a middle-aged joke into a youthful auteur who has made something beautiful, something he can be proud of, one of the best films of 2006. Read more
Richard Roeper, Ebert & Roeper: Bobby does do a solid job of telling one generation what the world was like in the summer of 1968, and reminding another generation of a time when they believed a politician could change the world. Read more
Bill Muller, Arizona Republic: What little plot Bobby has is overshadowed by the star spotting. Read more
Ty Burr, Boston Globe: Ham-handed and TV-movie flat, it states the obvious, then states it again and again and again. Read more
Kevin Crust, Los Angeles Times: It's an ambitious film drenched in sincerity and oozing with nostalgia that, despite the energy provided by its title icon via archival footage, falls flat dramatically in nearly every other way. Read more
Jonathan Rosenbaum, Chicago Reader: So keenly felt and so deeply imagined I couldn't help but be moved, even grateful for its bleeding-heart nostalgia -- which winds up feeling rather up-to-date. Read more
Bruce Westbrook, Houston Chronicle: With so much brandishing of name actors in small roles, Bobby feels like a '70s disaster flick, with the disaster in the final minutes. While waiting, viewers must content themselves with playing spot-the-star. Read more
Peter Rainer, Christian Science Monitor: Everyone in this film is powerful. Read more
Lisa Kennedy, Denver Post: A compelling film of tender moral decency that boasts a number of moments not to be shrugged off. Read more
Tom Long, Detroit News: The most interesting person in this maze of a movie is by far the title character. And his absence leaves an inescapable void. Read more
Owen Gleiberman, Entertainment Weekly: Bobby coasts along on a dread, and sorrow, it doesn't earn. Read more
Terry Lawson, Detroit Free Press: If Bobby causes us to stop and compare what might have been to the leadership we currently have, one suspects Estevez would not mind at all. Read more
Chris Vognar, Dallas Morning News: Always engaging, rarely revelatory, Bobby earns credit for its convictions and its ability to dramatize those convictions in the context of a man who embodied them. Read more
Scott Foundas, L.A. Weekly: Written and directed by Emilio Estevez, Bobby is like an American-history textbook marked with thick yellow highlighter wherever a parallel might be detected between the Vietnam era and the reign of Bush II. Read more
Jan Stuart, Newsday: An exercise in historical revisionism for folks who would rather be informed of breaking national crises through news feeds on All My Children. Read more
David Ansen, Newsweek: All the actors get their Big Moments, but verisimilitude goes out the window. Read more
Stephen Whitty, Newark Star-Ledger: It is a cross-section of America, and of the Screen Actor's Guild. Read more
Elizabeth Weitzman, New York Daily News: For all its flaws, Bobby is a heartfelt and undeniably relevant project. Read more
Roger Moore, Orlando Sentinel: It's a tin-eared movie, in many regards, history rewritten by that C-student who tries to jam too many footnotes into every character. Read more
James Berardinelli, ReelViews: In the movie business, there's no such thing as 'truth in titling.' If there was, Bobby would be called A Bunch of Boring, No-Name, Cookie-Cutter Characters. Read more
Stephanie Zacharek, Salon.com: The archival Kennedy clips aside, the excited radiance of these young characters' faces (and many of them are just extras) may be the best thing about Bobby. Read more
Liam Lacey, Globe and Mail: A lot of quick, character-defining cameos, which makes the movie play out like a pilot for a sprawling prime-time television show. Read more
Peter Howell, Toronto Star: It's this disconnect between historical reality and dramatic indulgence that keeps an otherwise worthy film from being completely satisfying. There are moments, though, where even the most hardened cynic may have to wipe away tears of regret and loss. Read more
Dave Calhoun, Time Out: [Estevez's] attempt to shoehorn what he sees as the grand themes of the period into a choppy, unsubtle and insubstantial script is embarrassing. Read more
Claudia Puig, USA Today: Despite its flaws, its intriguing premise leaves us haunted by thoughts of 'What if?' Read more
Deborah Young, Variety: A passionate outcry for peace and justice in America that becomes deeply involving by the final climactic scene, overlaid with one of RFK's most stirring speeches. Read more
Jim Ridley, Village Voice: Estevez means to eulogize the hopes of a nation, showing the night's impact on a group of hotel guests and staff cross-sectioned by age, race, and class. But his movie ends up buried under its stifling good intentions and dire execution. Read more
Ann Hornaday, Washington Post: Ambitious, uneven and deeply affecting drama. Read more