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 in Washington, D.C., just as it was about to fold," saw that jink broken in 1984, when he came to NPR.

For more than three decades, Mondello has reviewed movies and covered the arts for NPR News, seeing at least 250 films and 100 plays 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 such diverse publications as USA Today, The Washington Post, and Preservation Magazine, as well as for commercial and public television stations. And he has been a lead theater critic for Washington City Paper, D.C.'s leading alternative weekly, since 1987.

Before becoming a professional critic, Mondello spent more than a decade in entertainment advertising, working in public relations for a chain of movie theaters, where he learned the ins and outs of the film industry, and for an independent repertory theater, where he reveled in film history.

Asked what NPR pieces he's proudest of, he points to 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."

Whether you viewed this week's midterm elections as exhilarating or bruising, you're probably ready to move on at this point, which makes the timing problematic for Roberto Andò's lightweight election comedy, Viva La Libertà (Long Live Freedom).

Halloween's rolled around again and yeah, yeah, it's a dark and stormy night. The road's washed out, phone's gone dead, the mystic's reading her Ouija board, and zombies are popping through doorways left open by a demented kewpie doll.

Been there. Seen that. Got the T-shirt.

Back in 1940, in a review of the then-new Rodgers & Hart musical Pal Joey, New York Times critic Brooks Atkinson famously asked whether a show with a "cad" for a hero could ever really work for audiences.

"How can you draw sweet water," he wondered, "from a foul well?"

Goes without saying that times have changed, what with antiheroes now common on the big screen, and cable TV celebrating everything from mobster Sopranos to sexist Mad Men, to drug dealers for whom everything always breaks Bad.

Birdman's opening shot has a meteor flaring across a twilit sky — a dying star falling to earth being an apt first image for a movie about a film superhero who has flamed out.

David Fincher's marital thriller, Gone Girl, is based on a 2-year-old novel that spent more than 71 weeks on the New York Times hardcover best-seller list, and sold more than 6 million copies before it even came out in paperback. So a lot of suspense fans already know its twists and turns.

Coal miners and gay activists — two groups that, in 1980s England at least, you might have figured would steer clear of each other — partner surprisingly effectively in the real-life story that's affectionately fictionalized in Pride.

Note: There are 26 films in the on-air version of this story — but here are three favorites.

Hollywood hauled out Apes, Transformers, and X-Men and still had a humdrum summer at the box office. For the first time in years, no summer blockbuster has managed to crack the $300 million barrier at the North American box office. In fact, until Guardians of the Galaxy came along, the film industry was looking at its lowest attendance figures in more than a decade.

When Steven Spielberg was looking for someone who could make dinosaurs seem plausible in Jurassic Park, he asked fellow filmmaker Richard Attenborough to do something he hadn't done in almost 14 years: act. Plenty of performers could look at green screens and convey a sense of wonder. What Attenborough could do while playing the owner of Jurassic Park, figured Spielberg, was flesh out the bigger picture — the why. And when he did, it sounded almost as if he was stating the filmmaking credo he'd lived by all his life.

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