NPR
For 271 reviews, this critic has graded:
  • 69% higher than the average critic
  • 3% same as the average critic
  • 28% lower than the average critic
On average, this critic grades 10.5 points higher than other critics. (0-100 point scale)

Bob Mondello's Scores

  • Movies
  • TV
Average review score: 73
Highest review score: 100 Boyhood
Lowest review score: 10 I Am Number Four
Score distribution:
  1. Negative: 7 out of 271
271 movie reviews
    • 66 Metascore
    • 75 Bob Mondello
    Ends with a big action sequence, turning into Raiders of the Lost Arby's when you wish it would serve up something less conventional. But by that time, the filmmakers have also served up a little food for thought, along with a lot of laughs.
    • 66 Metascore
    • 50 Bob Mondello
    The students all say and do more than they should in the filmmaker's presence, which certainly makes them watchable -- sort of a slow-motion train wreck.
    • 66 Metascore
    • 70 Bob Mondello
    God Knows Where I Am turns out to be every bit as much a story of panic as "All This Panic." But where teenagers flail, Linda is resigned ... her tragic story a study in stillness and, ultimately, in silence.
    • 65 Metascore
    • 65 Bob Mondello
    With all the aerial dogfights, armored combat vehicles, grenades, flame-throwers and snipers, Rogue One feels like a film for those who think that most Star Wars movies are insufficiently like World War II flicks. Or maybe that they should more closely resemble computer games.
    • 65 Metascore
    • 70 Bob Mondello
    The film rests firmly on the shoulders of its central icon, and Williams, though she doesn't really resemble Monroe in either voice or visage, is pretty splendid at conjuring her.
    • 65 Metascore
    • 80 Bob Mondello
    They flail and they thrash, and Krokidas' film is just like them — as jazz-inflected and freewheeling as the Beat poetry these guys were about to unleash on the world.
    • 65 Metascore
    • 80 Bob Mondello
    "Liar Liar" meets Obi-Wan? Who'da thunk even fearless star power could make these two work as a romantic pair? But both stars prove to be enormous fun in a gay love story played straight in a thoroughly crooked context.
    • 65 Metascore
    • 65 Bob Mondello
    What hasn't advanced is the plotting, which was nothing special last time and is so formulaic now that it's basically surprise-free.
    • 65 Metascore
    • 75 Bob Mondello
    It's also violent to point of sadism, explicit both visually and in terms of language. A potty-mouthed splatterfest, in fact — but a funny one.
    • 65 Metascore
    • 70 Bob Mondello
    Deathly Hallows I actually manages to be involving and kind of artful about the boredom and loneliness of heroism, while sounding a long throbbing drumroll for next summer's grand finale.
    • 65 Metascore
    • 65 Bob Mondello
    After a few queasy moments at its midpoint, the trajectory of In a Better World becomes so relentlessly platitudinous that an audience that ought to feel seriously rattled will be settling back, feeling comfortably reassured.
    • 64 Metascore
    • 70 Bob Mondello
    Kaboom's one-liners are snappy, knowing, and unexpected.
    • 64 Metascore
    • 70 Bob Mondello
    This is a world of dinner jackets and evening gowns, casual jaunts to Venice and Morocco; it's about elegance, style, money and perhaps too heady a mix of drink, religion and intrigue.
    • 64 Metascore
    • 85 Bob Mondello
    Though these two really grow on you, what's almost more remarkable than Nick, Norah or their playlist (which may not be infinite, but really does include some great music) is the quirky, melting-pot world director Peter Sollett creates around them.
    • 64 Metascore
    • 75 Bob Mondello
    Probably the most artful of the Apatow Factory comedies so far, but that's not to suggest it doesn't take being sweetly dumb just as seriously as the rest.
    • 64 Metascore
    • 75 Bob Mondello
    Oddly though, the most shocking thing about the film is that it often prompts laughs.
    • 64 Metascore
    • 75 Bob Mondello
    Any slack, though is picked up by Shep Gordon, who seems every inch the "supermensch" of the title — splendid company, a sterling storyteller, and yeah, a real mensch.
    • 63 Metascore
    • 75 Bob Mondello
    Edwards is a wizard with his laptop's effects program. The squiddy things he conjures up look like the real deal - thoroughly creepy and a gazillion feet tall. Too bad his screenwriting software didn't have an equivalently impressive plot-twisting algorithm to get him to the final fade.
    • 63 Metascore
    • 85 Bob Mondello
    Filmmaker Francois Ozon is a young writer/director known for provocative work with mature stars — Kristin Scott Thomas was in his last picture, Catherine Deneuve in the one before that. And in Young and Beautiful, he establishes that you don't have to be young to be beautiful by having a still stunning Charlotte Rampling drop by to give his young star a life lesson. Or six.
    • 63 Metascore
    • 50 Bob Mondello
    Laughs? Schmaltz? Life lessons? They're all there in Sean McGinly's pleasantly lackadaisical script, but not in such abundance that they seem reason enough to see the film.
    • 63 Metascore
    • 70 Bob Mondello
    The movie has made it to theaters not dead on arrival, but walking dead, running dead, and — when it's really working — swarming dead.
    • 63 Metascore
    • 70 Bob Mondello
    The kiddie set can chortle at Megamind's slapstick and its goofy one-upmanship while adults get a kick out of all the smart spatial tricks that highlight the 3-D effects.
    • 62 Metascore
    • 65 Bob Mondello
    42
    A profile in real-life courage that would be stronger as a movie if it weren't quite so intent on underlining teachable moments.
    • 62 Metascore
    • 80 Bob Mondello
    The German Doctor is never showy or melodramatic — just a kind of true-life horror story about the helpful, soft-spoken monster in our midst.
    • 62 Metascore
    • 60 Bob Mondello
    Director Saul Dibb, presumably knowing that this is pretty standard stuff for a costume epic, occupies us not just with the usual visuals -- of his star drifting through exquisitely furnished estates, draped in rich silks and brocades -- but also with some intriguingly offbeat sights.
    • 62 Metascore
    • 70 Bob Mondello
    Redmayne is hugely persuasive as a redneck geek -- you'd never guess he's a Brit with credits in classical theater.
    • 62 Metascore
    • 60 Bob Mondello
    Spectacularly self-absorbed protagonists step on each other, jockeying first for position, and ultimately for survival.
    • 62 Metascore
    • 70 Bob Mondello
    There's not a lot that's new about the terrors he faces - the director uses time-honored techniques to keep you on edge, every one of which graced Hammer films of yore. But happily for the picture, there's a reason they're time-honored. And keep you on edge, they definitely do.
    • 62 Metascore
    • 65 Bob Mondello
    We're here to see the film's leading lizard, who is pretty gorgeously realized by an army of digitizers, even if he seems just a bit-player in his own movie for the first hour or so.
    • 61 Metascore
    • 65 Bob Mondello
    Stuart Gordon's inventions -- vivid, gruesome and occasionally quite funny -- offer a just-deserts ending and make both characters surprisingly active participants in their fates.

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