NPR
For 242 reviews, this critic has graded:
  • 67% higher than the average critic
  • 3% same as the average critic
  • 30% lower than the average critic
On average, this critic grades 11.8 points higher than other critics. (0-100 point scale)

Bob Mondello's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Mr. Turner
Lowest review score: 10 I Am Number Four
Score distribution:
  1. Negative: 7 out of 242
242 movie reviews
    • 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.
    • 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.
    • 58 Metascore
    • 50 Bob Mondello
    The upside of a Coward-powered letdown is that I had plenty of time to contemplate one particularly improbable fact about Easy Virtue: that it had a previous incarnation on film. As, of all things, a silent picture.
    • 49 Metascore
    • 50 Bob Mondello
    The title is drawn from a verse Hannah wrote just before she was captured -- and that impulse is enough to sustain audience interest.
    • 51 Metascore
    • 50 Bob Mondello
    The film is more appealing for its scenery, which is as breathtakingly blue as you'd expect, than for its drama.
    • 60 Metascore
    • 50 Bob Mondello
    Tomorrowland is designed, just like its theme park namesake, to celebrate optimism.
    • 40 Metascore
    • 49 Bob Mondello
    The most terrifying thing about the movie, really, is that plural: Originsssss. So many mutants, so much time. Thank God we can leave that for another summer.
    • 54 Metascore
    • 45 Bob Mondello
    All of this is at once predictable and implausible -- a two-hander of a story so overplotted and overpopulated that by the time it's winding up, the question isn't so much Is Anybody There? as it is, "Why on earth are so many bodies here?"
    • 49 Metascore
    • 45 Bob Mondello
    Say this for Roland Emmerich's latest movie: It IS a disaster.
    • 40 Metascore
    • 45 Bob Mondello
    Now, it's not fair to ask that a romantic comedy be entirely realistic, but some level of plausibility would make the jokes go down easier, as would a touch of delicacy in the writing.
    • 43 Metascore
    • 45 Bob Mondello
    Idiotic, if reasonably kinetic, Eagle Eye -- in which Shia LaBeouf and Michelle Monaghan spend the better part of two hours urgently answering phone calls and dodging hurtling machinery -- is every bit as over-edited as it is under-thunk.
    • 36 Metascore
    • 45 Bob Mondello
    Slack, morally ambiguous, decidedly sub-Dexter serial-killer-cop story that's been cooked up for them (De Niro/Pacino).
    • 55 Metascore
    • 45 Bob Mondello
    The directors can make it fluid, comprehensible and gorgeous to look at, but they can't keep what struck many readers as profound on the page, from seeming profoundly obvious on screen, especially when every point gets reiterated six times.
    • 35 Metascore
    • 45 Bob Mondello
    Such a catalog of missed opportunities, it probably makes sense just to list them.
    • 37 Metascore
    • 45 Bob Mondello
    There's a couple of hundred million dollars' worth of technical wizardry up there on screen, and nothing is at stake. Except, maybe, for some future amusement park ride, and the sequels, and toys and hats and masks. And piles and piles of silver, if enough people lay down their hard-earned dollars to hear Hammer's hearty "Hi-yo."
    • 45 Metascore
    • 40 Bob Mondello
    Small kids won't really appreciate Johnny Depp, either, though frankly he's getting to be less fun as the series ages, possibly realizing that what's riskiest in Pirates 4 isn't walking the plank, but jumping the shark.
    • 52 Metascore
    • 40 Bob Mondello
    There's lots of information, some nice images, plenty of earnest sermonizing about culture and almost no suspense, or tension, or character development, or structure. Or, well, art.
    • 55 Metascore
    • 40 Bob Mondello
    It's stately with a smirk, crossing Bram Stoker with "The Addams Family" to arrive at what sometimes feels like a wildly overproduced "Saturday Night Live" sketch.
    • 54 Metascore
    • 40 Bob Mondello
    What's more annoying than the crassness, really, is the directorial sloppiness that results in a virtually mirthless first half-hour and a slow build to chuckles thereafter.
    • 48 Metascore
    • 40 Bob Mondello
    Presumably in response to criticism that "The Da Vinci Code" was static and talky, director Ron Howard has made Angels & Demons frantic -- and, well, talky.
    • 37 Metascore
    • 40 Bob Mondello
    The result is verisimilitude without engagement -- a risk-taker's story told entirely without narrative risk -- and a movie that consequently never takes flight.
    • 55 Metascore
    • 40 Bob Mondello
    The faux-naive point of view probably worked better in the novel; the literalness of film renders certain of the story's conceits overly precious.
    • 52 Metascore
    • 40 Bob Mondello
    Labor Day may be filled with autumn's falling leaves, but it makes sense that they're bringing it out as a prelude to spring, for the sap — and I do mean sap — is rising.
    • 56 Metascore
    • 40 Bob Mondello
    The director recycles some of the better effects from his gladiator epic "300"...and he's being so faithful to the work of comics artist Dave Gibbons that he might as well have used the graphic novel's illustrations as a storyboard.
    • 51 Metascore
    • 40 Bob Mondello
    It would be churlish to parse the logic of the underlying situation too closely when all the filmmakers are really after is a heartwarming little object lesson in tolerance.
    • 29 Metascore
    • 35 Bob Mondello
    There's no chemistry between Zellweger and Connick, and there's not a moment in which anything anyone does feels remotely plausible.
    • 47 Metascore
    • 30 Bob Mondello
    What possessed Liv Tyler to take a role in this sadistic, unmotivated home-invasion flick.
    • 40 Metascore
    • 30 Bob Mondello
    Dunno about the Earth, but time certainly stands still for a goodly portion of Scott Derrickson's expensively produced but utterly boneheaded remake of The Day the Earth Stood Still.
    • 31 Metascore
    • 30 Bob Mondello
    Hard to say what's dumber, the premise or the characters in William Olsson's trashily preposterous An American Affair.
    • 41 Metascore
    • 30 Bob Mondello
    Alas, there's scarcely a moment of ingenuity or surprise in this tale of the supremely smug, unmarried-but-made-for-each-other Brad and Kate.

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