Bob Mondello

Bob Mondello, who jokes that he was a jinx at the beginning of his critical career — hired to write for every small paper that ever folded in Washington, just as it was about to collapse — saw that jinx broken in 1984 when he came to NPR.

For more than three decades, Mondello has reviewed movies and covered the arts for NPR, seeing at least 300 films annually, then sharing critiques and commentaries about the most intriguing on NPR's award-winning newsmagazine All Things Considered. In 2005, he conceived and co-produced NPR's eight-part series "American Stages," exploring the history, reach, and accomplishments of the regional theater movement.

Mondello has also written about the arts for USA Today, The Washington Post, Preservation Magazine, and other publications, and has appeared as an arts commentator on commercial and public television stations. He spent 25 years reviewing live theater for Washington City Paper, DC's leading alternative weekly, and to this day, he remains enamored of the stage.

Before becoming a professional critic, Mondello learned the ins and outs of the film industry by heading the public relations department for a chain of movie theaters, and he reveled in film history as advertising director for an independent repertory theater.

Asked what NPR pieces he's proudest of, he points to an April Fool's prank in which he invented a remake of Citizen Kane, commentaries on silent films — a bit of a trick on radio — and cultural features he's produced from Argentina, where he and his husband have a second home.

An avid traveler, Mondello even spends his vacations watching movies and plays in other countries. "I see as many movies in a year," he says, "as most people see in a lifetime."

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A close-up of ice melting in brilliant sunshine is the first thing you see in An Inconvenient Sequel: Truth to Power. It's gorgeous — snow crystals glistening, moisture dripping from them into a pool of water so pure and clear it makes you thirsty.

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The dark, feminist tale, Lady Macbeth doesn't deal with royalty or take place in medieval Scotland. It has no witches, nor much rinsing of blood from hands. It's not even based on Shakespeare. But its leading lady, a teen bride when we meet her, still lives up to that title.

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Fifty years ago, on June 12, 1967, the Supreme Court's decision in Loving v. Virginia legalized interracial marriage. Just two weeks earlier, shooting had been completed on a movie about that very subject — Stanley Kramer's soon-to-be-classic, Oscar-winning, box-office smash Guess Who's Coming To Dinner, starring Spencer Tracy, Katharine Houghton and Sidney Poitier.

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It's a beach in Florida this time — I know you care because we're all here for the plot, right? — and head lifeguard Mitch Buchannon is now The Rock not The Hoff.

"Our team is the elite of the elite," Dwayne Johnson's Mitch tells his Baywatch recruits, "the heart and soul of this very beach."

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"Guardians Of The Galaxy Vol. 2" opens in theaters this weekend. The film is on track for a $150 million opening, so reviews are probably irrelevant. But NPR's Bob Mondello has one anyway.

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Imagine city planning as a contact sport and you have the gist of Matt Tyrnauer's documentary, Citizen Jane: Battle for the City. The film chronicles the struggle between two mid-20th century worldviews: that of Robert Moses, who preached a cure for what ailed American cities that amounted to "bulldoze and replace," and the less destructive prescriptions of writer/activist Jane Jacobs, who challenged the whole notion of urban renewal in her game-changing book, The Death and Life of Great American Cities.

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The Internet Movie Database (IMDb) has adopted the F-rating, a classification system designed to champion women in film.

The new rating was created three years ago by Holly Tarquini, executive director of the Bath Film Festival, to "support women in film and change the stories we see on screen." The Bath festival created a website for the rating, which says:

"The F-Rating is a classification for any film which

  1. is directed by a woman
  2. is written by a woman

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The new movie Life, which opens March 24, is about astronauts who discover an alien life form and live to regret it. You could say exactly the same thing about Alien: Covenant, which was originally scheduled to open the following Friday — until someone realized that was a recipe for box-office disaster. Alien: Covenant will now open in early May, and that close call, crazy as it is, isn't uncommon in Hollywood.

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As the shorter half of the sketch-comedy duo Key & Peele, Jordan Peele was ever on the lookout for distinctive ways to tackle ethnic stereotyping, so it makes sense that he'd leaven his film directing debut with more than just a dash of social satire.

Get Out, billed in its opening credits as "from the mind of Jordan Peele," is a horror-flick with a decidedly Peelean take on genre and on race — one that subverts familiar horror tropes while encouraging audiences to simultaneously react to them, and step back to look at them more closely.

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Most Broadway musicals that close after 16 performances barely prompt memories, let alone documentaries. But in 1981, the Stephen Sondheim/George Furth opus, Merrily We Roll Along, rolled along so bizarrely, it became the stuff of Broadway legend, worthy of a 2017 post-mortem. Best Worst Thing That Ever Could Have Happened is a theatrically captivating documentary in which a director looks sideways at a musical that goes backwards.

A long time ago in a galaxy far, far away — a slightly longer time ago, actually, than usual — there's a little girl named Jyn. She has a dad who was an important cog in the Empire's war machine until he went on the lam. As Rogue One starts, his Imperial overlord (Ben Mendelsohn, sneering up a dust storm) has caught up with him, and it's Jyn who must go on the lam.

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We keep hearing that this election is like no other, but when I watch old movies, I often hear echoes of what's going on in the campaign.

The guy who opines in A Face in the Crowd (1957), say, that in the then-new age of television, "instead of long-winded public debates, people want capsule slogans."

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