Gene Shalit, the popular film critic who spent decades with TODAY, has died. He was 100 years old.

In a statement to NBC News, Shalit’s family said he “passed away peacefully today after 100 years of an amazing life.”

Born March 25, 1926, Shalit was an instantly recognizable personality. Along with his distinctive handlebar mustache, poofy hair, eyeglasses and bow ties, he is best remembered for his love of puns while doing reviews on the show’s “Critic’s Corner” segment.

A graduate of the University of Illinois, Shalit became a part-time TODAY personality in 1970 and was elevated to a full-time role in 1973, replacing Joe Garagiola. He remained with the show until he retired in 2010. “It’s enough already,” he said in a statement announcing his retirement.

In addition to his reviews, Shalit interviewed scores of celebrities during his TODAY tenure. His 1979 sit-down with Carol Channing is best remembered for the actor telling a story about having trouble understanding the British accent that left him in tears from laughing so hard.

“What’s the matter with him?” a smiling Channing said as Shalit tried to gather himself.

His movie reviews were often punctuated by his use of puns, which became his calling card.

Shalit made regular appearances on classic game shows “What’s My Line?” and “To Tell the Truth” and wrote for a wide range of newspapers and magazines, including The New York Times, Cosmopolitan, Glamour and TV Guide. He also wrote and broadcast a daily piece called “Man About Anything” on NBC’s radio network for over a decade.

In addition, he authored the 1987 anthology “Laughing Matters: A Celebration of American Humor.” He also compiled the book “Great Hollywood Wit” in 2002.

“Shalit has performed with the Boston Symphony Orchestra in Boston’s Symphony Hall and Tanglewood, played his bassoon on stage in Lincoln Center, and conducted the Pittsburgh Symphony Orchestra in a full concert of classical music. In none of these venues has he ever been invited back,” read a cheeky bio of Shalit in the 2007 book “Mazel Tov: Celebrities’ Bar and Bat Mitzvah Memories.”

He also lent his voice as a character named Gene Scallop in a 2007 episode of “SpongeBob SquarePants.”

He became pop culture fodder, often being lampooned on “Family Guy” and portrayed by Horatio Sanz on “Saturday Night Live.”

Shalit had six children with late wife Nancy, one of whom, Emily, died in 2012 from ovarian cancer.

Gene Shalit, a movie critic and arts reporter for the Today show over four decades who was known for his puffy hair, oversized handlebar mustache and affection for groan-inducing puns, has died. He was 100.

Shalit’s family announced the death Friday to NBC News, saying in a statement that he “passed away peacefully today after 100 years of an amazing life”.

Shalit joined Today as a contributor in 1970 and became arts editor in 1973, later settling in for his segment, Critic’s Corner. When he left the show in 2010, he was one of the last high-profile film critics on a major network.

“What resonated above his unusual appearance was his incredible wit, his remarkable intelligence. But he didn’t pound you over the head with it. He amused you. He enlightened and amused whatever subject he was on,” Guy Ludwig, Shalit’s producer for more than 20 years, wrote in an essay.

It was no coincidence that Chicago critics Roger Ebert and Gene Siskel’s local “thumbs-up, thumbs-down” movie-review program, Sneak Previews, went national on PBS in the late 1970s and that Today show’s ABC rival, Good Morning America, hired Joel Siegel to be its movie critic in 1981.

“Shalit was instrumental in changing the balance of critical power in America. When he began his ‘Today’ tenure, newspapers and magazines were the primary sources for movie reviews. That’s where cinematic opinion was sparked and shaped,” the Plain Dealer wrote in 2010, calling Shalit “Daniel Boone in a bow tie and Groucho glasses”.

Earlier this year, former President Obama made waves in an interview when he said that he believed aliens were real, though he hadn’t seen any evidence of them during his time in office. President Trump accused Obama of revealing “classified information,” but then said that he would direct government agencies to release a number of images showing alien and extraterrestrial activity. The Pentagon rolled out those photos last month, but they were largely deemed fuzzy and inconclusive.

All this might sound like free publicity for Steven Spielberg’s new thriller, Disclosure Day, which is about a massive U.S. conspiracy to hide the fact that aliens have been visiting Earth for decades. If anything, though, the movie’s pleasures feel more retro than timely. It harks back to Spielberg’s greatest alien-themed hits, like Close Encounters of the Third Kind, E.T. and War of the Worlds. But it also feels like a throwback to the ’90s and early 2000s — the era of conspiracy-minded sci-fi series like The X-Files and M. Night Shyamalan’s eerie crop-circle thriller, Signs.

Disclosure Day stars Josh O’Connor as Daniel Kellner, a cybersecurity expert who decides to blow the whistle on his employer, Wardex. That’s a powerful agency, operating outside the boundaries of the government, that, for decades, has suppressed evidence of alien visits to Earth. Daniel has stolen video footage of these creatures, and he feels duty-bound to disclose it to the public — and to expose the sinister Wardex for having captured, detained and even tortured its share of aliens.

Meanwhile, in Kansas City, Mo., something strange happens when a TV meteorologist named Margaret Fairchild, played by Emily Blunt, tries to deliver her morning weather report. She freezes up on the air and begins making strange, guttural clicking noises, speaking what appears to be a kind of alien language. Around this time, Margaret also finds that she can read the minds of the people around her — a gift that comes in handy once she, too, goes on the run, with Wardex agents in pursuit.

Although Margaret and Daniel don’t know each other, they share a mysterious connection. Noah Scanlon, the head of Wardex, played by an unusually terrifying Colin Firth, is determined to stop them before they can make contact.

One of Scanlon’s deadliest weapons is a form of mind-control technology that he uses to try to get Daniel’s girlfriend, Jane, played by a very good Eve Hewson, to betray him. Whatever aliens might be capable of doing to us, the movie suggests, we have far more to fear from some of our fellow humans.

The mind-control bit is one of the movie’s cleverest sequences; a scene in which Margaret stages an almost Houdini-level escape is another. At 79, Spielberg is still the nimble filmmaker who delights in treating cinema as a magic trick. He’s also as skilled with actors as ever. Firth injects a palpable sense of anguish into the role of the movie’s big villain, and O’Connor brings an Everyman likability to his truth-telling tech whiz. But the most dazzlingly inventive work comes from Blunt.

Often a tough, sardonic screen presence, as in The Devil Wears Prada 2, Blunt gets to flex her proven action and comedy muscles in a more earnest emotional register. Like Richard Dreyfuss’ obsessed alien seeker in Close Encounters, Margaret is the kind of madly eccentric character Spielberg instinctively gravitates toward — someone who has little idea where she’s headed, but is convinced, rightly, that the truth really is out there.

There are other memorable characters, too. Colman Domingo gives a warm turn as a fellow whistleblower, who steers the operation from afar. And Elizabeth Marvel delivers a fine performance as a Catholic nun who, in one of the film’s more thoughtful asides, claims that the existence of aliens doesn’t threaten her belief in God. If anything, she says, it affirms that God, like the universe he created, is far bigger and more complex than humans like to acknowledge.

That’s a profoundly beautiful idea, though I wish Disclosure Day itself were a more complex movie. Spielberg’s storytelling is often described as overly sentimental, which isn’t always fair; his previous work, the semi-autobiographical The Fabelmans, was one of the most genuinely moving films of his career.

But sentimentality does ultimately overwhelm Disclosure Day, especially in the big finale, when the movie strains to bring its characters and indeed all of humanity together. Having shown us some of the terrible things powerful people are capable of, Spielberg makes a third-act lurch toward catharsis, as though desperate to suggest we aren’t beyond redemption as a species. Like the existence of alien life, our essential goodness is easy enough to believe in, but a lot harder to prove.