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."

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It would be hard to pay homage to Vincent Van Gogh with more fervor or devotion than filmmakers Dorota Kobiela and Hugh Welchman bring to Loving Vincent, in which they've not only created thousands of new oil paintings in his style, but also made him the subject of a murder-mystery.

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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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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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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