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."

The first two debates of the 2012 election cycle have had stratospheric viewership on TV. Critic Bob Mondello isn't surprised. He argues we've spent the last decade training the public to watch contests on television and then vote — think American Idol and Dancing with the Stars.

During the debates, networks all but beg us to kibitz in social media, which makes instant judgment universal. We're encouraged to watch for the purpose of reacting.

Ben Affleck's new thriller, Argo, chronicles a secret CIA rescue mission — a mission that remained classified for years. When details finally came to light, the operation sounded like something only Hollywood could come up with. As we find out, there's a reason for that.

It's 1979, and the Iranian public's hatred for their U.S.-backed shah erupts when he leaves the country. A crowd grows around the U.S. Embassy in Tehran — they're climbing the gates and taking dozens of Americans hostage.

[The films that Team NPR saw at the Toronto International Film Festival will be rolling out in theaters over the next several months, and we'll be reminding you about some of them along the way. One that Bob Mondello enjoyed was Dustin Hoffman's directing debut, Quartet. He attended the gala Toronto premiere and wrote this short postcard about the actors' responses and the audience's reaction to the film, which is currently scheduled to open just after Christmas, on January 4, 2013. — Linda Holmes]

Street gangs, drugs and the Los Angeles Police Department have been ingredients in so many police thrillers that it's hard to imagine a filmmaker coming up with a fresh take — though that hasn't stopped writer-director David Ayer from trying. He's made four cops-'n'-cartels dramas since his Oscar-winning Training Day a decade ago; the latest, End of Watch, easily qualifies as the most resonant.