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."

When I was 9, I spent a lot of time at a public library just down the street; I was already a theater nerd, and it had a well-stocked theater section. Not just books, but original cast albums for Broadway shows old and new. One day, an addition: The Music Man, about a salesman who was crazy about a girl named, as one song put it, "Marrrrrrrion, madam librarian."

There may be no film image more iconic: Harold Lloyd, high above the street, dangling from the minute hand of a giant department-store clock.

The face of the clock swings down; the minute hand bends. It's been 90 years since the silent era's greatest daredevil shot that sequence, and it still has the power to prompt shrieks and laughter.

Lloyd's character was the All-American Boy, innocent in his horn-rimmed glasses, eager to climb the ladder of success — and like many a social striver before him, he was plagued by anxiety that he'd fall before he got to the top.

A country girl from Grabtown, N.C., Ava Gardner arrived in Hollywood in 1941 knowing she couldn't act but, gorgeous as she was, she never had to let that slow her down. Her beauty — which reportedly intimidated Elizabeth Taylor — won her not just film roles and studio-paid acting lessons, but the attentions of all-American boy Mickey Rooney, whom she married and divorced before she turned 21. She had a similarly brief union with bandleader Artie Shaw — she called those two her "starter husbands" — before a tempestuous, headline-making marriage to Frank Sinatra.

Ruby Keeler was an unknown actress when she starred in the 1933 production of Busby Berkeley's 42nd Street.

But the movie was so popular she was able to land two more splashy musicals that same year — and seven more by the end of the decade. There was nothing extraordinary about her talents as a vocalist or as an actress, but audiences of the Depression era really bought into Keeler's "innocent" onstage persona. In fact, they craved it.

Lukas works in a Danish kindergarten, and it's clear he's in the right place: When the kids look at him, they see a great big toy.

That's especially true for 5-year-old Klara, the lonely daughter of Lukas' best friend, Theo. Klara's folks fight a lot, and her teenage brother is too busy looking at dirty pictures with his buddies to pay her much attention.

Summer movies, as you may have noticed, are overwhelmingly male-dominated. But this summer, there's an exception: The Heat, a buddy cop flick with a distaff difference.

If you're a parent with small children, summer is traditionally a time when there's lots for them to see at the multiplex. That's not untrue this summer. But if you're specifically looking for a film with a G rating, you may just be out of luck.

Celine and Jesse are sporting a few physical wrinkles — and working through some unsettling relational ones — in Before Midnight, but that just makes this third installment of their once-dewy romance gratifyingly dissonant.

It's been 18 years since they talked through the night that first time, Julie Delpy's Celine enchanting and occasionally prickly, Ethan Hawke's Jesse determined to charm; their chatter then, as now, scripted but loose enough to feel improvised as captured in long, long takes by Richard Linklater's cameras.

The opening sequence of J.J. Abram's new entry in the Star Trek universe has all the ingredients of the classic franchise.

There's Kirk and his crew bellowing on the bridge, everyone worrying about the prime directive and our favorite Vulcan trapped in a volcano.

OK, I'm in. I may not be a fanboy anymore, but I sure was in my youth, and having these guys in their youths again is just as cool at the outset as it was last time.

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