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The Camelot mythography lives on in writer/director Emilio Estevez’s earnest bid for significance, a cliché’d collage portrait of LA’s Ambassador Hotel on June 4, 1968, beginning in the pre-dawn hours and progressing toward the moment soon after midnight when Robert F. Kennedy, flush with a Democratic-primary win, is shot and killed. Kennedy and Sirhan Sirhan are not characters; instead, Estevez whips up 10 or more fictional parallel plot lines. Teen bride Lindsay Lohan prepares to marry Elijah Wood to keep him from combat in ’Nam, fading songstress/lush Demi Moore bickers with co-dependent hubby Estevez, kitchen manager Christian Slater gets fired by philandering boss William H. Macy for bigotry, campaigners Shia LaBeouf and Brian Geraghty drop acid, ad infinitum. Guest stars and quaint character expositions are trotted by like gun-range ducks, in two-minute swatches. The abject mourning for the Kennedy dream that never was is no less naive than in Oliver Stone’s JFK, but it’s passionate, and in one magnetic scene aging lionesses Moore and Sharon Stone (as a pragmatic hairdresser) steal the film outright with what might be their waning careers’ most convincing screen moments.
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