NPR
For 229 reviews, this critic has graded:
  • 68% higher than the average critic
  • 3% same as the average critic
  • 29% lower than the average critic
On average, this critic grades 11.6 points higher than other critics. (0-100 point scale)

Bob Mondello's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 The Social Network
Lowest review score: 10 I Am Number Four
Score distribution:
  1. Negative: 7 out of 229
229 movie reviews
    • 74 Metascore
    • 75 Bob Mondello
    With most of its voices hailing from Broadway, it's a good bet the composers have one eye fixed on a future stage incarnation; makes sense, then, that there'd be references to a couple of Disney's Broadway hits. The opening number sounds a lot like "The Lion King"; then there's a "Beauty and the Beast"-style tour of the town.
    • 69 Metascore
    • 75 Bob Mondello
    An intriguingly complex portrait of both of its characters and of the time of flux they live in.
    • 79 Metascore
    • 75 Bob Mondello
    After sitting at his elbow that day, I can tell you how he manages the tricks I saw really close-up. Not mysterious at all: It's magic, pure and simple.
    • 66 Metascore
    • 75 Bob Mondello
    Gordon-Levitt keeps things riotous for the film's first hour, and if he eases into an ending that's a little Hollywood-standard, after having so much fun tweaking form and content, I'm guessing audiences will cut him some slack.
    • 71 Metascore
    • 75 Bob Mondello
    Filmmakers Phil Lord and Chris Miller (who are themselves impressive partners at this point) know enough not to mess with a successful formula.
    • 64 Metascore
    • 75 Bob Mondello
    Oddly though, the most shocking thing about the film is that it often prompts laughs.
    • 69 Metascore
    • 75 Bob Mondello
    The sexual tension in Venus in Fur acquires a few specifically Polanski-esque layers.
    • 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.
    • 52 Metascore
    • 70 Bob Mondello
    It all contributes to making the story breathless and nerve-jangling.
    • 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.
    • 40 Metascore
    • 70 Bob Mondello
    Good demonstrates the surprising power of character flaws in drama. How else to explain that the portrayal of a good man who does nothing in Good should prove more dramatically compelling than the stories in "Valkyrie" and "Defiance" of good men who did good?
    • 52 Metascore
    • 70 Bob Mondello
    Tykwer being something of an architecture freak, controlling Third World debt also requires a trip to the rooftops of Istanbul, to Zaha Hadid's BMW factory, and to Daniel Libeskind's Jewish Museum in Berlin. All great fun in a story that's more kinetic than compelling.
    • 45 Metascore
    • 70 Bob Mondello
    You'd think the weakest link in Fanboys would be that it's all in-jokes, but they're actually not so "in" that a casual fan won't get them.
    • 72 Metascore
    • 70 Bob Mondello
    Good Hair isn't selling anything but a good time.
    • 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.
    • 72 Metascore
    • 70 Bob Mondello
    Claude Miller's ravishingly shot drama A Secret gives up its titular mystery early, so it may seem odd to speak of the suspense it generates.
    • 51 Metascore
    • 70 Bob Mondello
    Eisenberg lets us see Sam's growing distress, and also the fortitude with which he faces down his fears -- few young actors are as adept at simultaneously conveying panic and bravado.
    • 73 Metascore
    • 70 Bob Mondello
    The filmmakers tried to get him to tell his side of the story, but he's unwilling to appear on camera. Which leaves them in documentary limbo, since they've gone to great lengths to raise questions in the audience's mind about the case. The answers they've found are questions, their conclusion, inconclusive.
    • 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.
    • 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.
    • 64 Metascore
    • 70 Bob Mondello
    Kaboom's one-liners are snappy, knowing, and unexpected.
    • 68 Metascore
    • 70 Bob Mondello
    Grant the filmmakers the efficiency of their plotting, even if it reduces characters to types. And credit them with having assembled a cast capable of making the film's craziness and stupidity appealing, even if hitching actors of the caliber of Moore and Gosling (and to a lesser extent Carell and Stone) to material this thin is a little like hitching a Saturn rocket to a go-cart.
    • 57 Metascore
    • 70 Bob Mondello
    You can't accuse the new Brighton Rock of being untrue to the book - it actually reinstates the novel's climax, placing violent events back atop a cliff as Greene had originally, rather than on the Brighton Pier, as he had in his screenplay.
    • 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.
    • 60 Metascore
    • 70 Bob Mondello
    The rhythms are gentle, the smiles plentiful, the chuckles frequent, with the overall effect about as pleasantly innocuous as the film's hero.
    • 55 Metascore
    • 70 Bob Mondello
    As family viewing, it's pleasant enough: primitive, yes, but in a digitally sophisticated way that's boisterous, funny and will no doubt sell a lot of toys.
    • 59 Metascore
    • 70 Bob Mondello
    Credit Kondracki and Kirwan with having endowed their picture with considerable, if blunt, force. Their filmmaking suits the real-life atrocities they're exposing.
    • 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.
    • 68 Metascore
    • 70 Bob Mondello
    The film's bluntness doesn't diminish the power of the nature-versus-nurture questions Eva's asking herself. Or of Swinton's harrowing portrait of parental guilt.
    • 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.