For 301 reviews, this critic has graded:
  • 50% higher than the average critic
  • 1% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 0.7 points lower than other critics. (0-100 point scale)

Mark Jenkins' Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 90 The Central Park Five
Lowest review score: 5 Grown Ups 2
Score distribution:
  1. Negative: 25 out of 301
301 movie reviews
    • 29 Metascore
    • 37 Mark Jenkins
    Although Boniadi makes Shirin nearly as likable as she’s supposed to be, writer-director Ramin Niami’s movie is crudely contrived and sloppily edited.
    • 24 Metascore
    • 37 Mark Jenkins
    Intriguingly, Jinn makes a plea for understanding and cooperation between Muslims, Jews and Christians. Disappointingly, writer-director Ajmal Zaheer Ahmad does all too good a job burying that message within a blustering supernatural thriller.
    • 39 Metascore
    • 37 Mark Jenkins
    Whether it’s being sexy, jokey or homicidal, Stage Fright doesn’t deliver the goods with sufficient spirit. It lacks the sparkle to be a truly killer show.
    • 15 Metascore
    • 37 Mark Jenkins
    America is less successful as a debate, since it isn’t one. D’Souza controls the conversation, and thus goes unchallenged when he tries to make real-world points with make-believe scenarios.
    • 45 Metascore
    • 37 Mark Jenkins
    First-time director Trish Sie, a music-video veteran, is more interested in spectacle than character, as she demonstrates even when nobody’s dancing.
    • 38 Metascore
    • 37 Mark Jenkins
    As Above, So Below is inherently absurd, but it would be somewhat less so had it fully committed to just one of its ridiculous premises.
    • 77 Metascore
    • 37 Mark Jenkins
    Best of Enemies exists mainly as an occasion to replay the footage of Vidal’s smug taunt and Buckley’s seething response. It’s great television, but it has been available on YouTube for some time now.
    • 44 Metascore
    • 37 Mark Jenkins
    Stretched across nearly two hours, it tells a story that would have been adequately laid out in a 30-second television spot.
    • 74 Metascore
    • 37 Mark Jenkins
    The filmmakers keep trying to make Will appear paranoid, but he’s not fooled for long — and most viewers won’t be, either.
    • 50 Metascore
    • 37 Mark Jenkins
    Director John H. Lee isn’t big on John Le Carré-style intrigue and introspection. (The dialogue comes in only two flavors: blustering and sentimental.) He’s better at the shootouts and chase scenes, which are loud, lively and well-choreographed, if sometimes outlandish.
    • 47 Metascore
    • 37 Mark Jenkins
    Blair Witch runs only eight minutes past the original, yet it feels about a half-hour longer. The new toys — especially the drone — allow for fresh situations, and there’s more blood and supernatural affliction than before. Mostly, though, the filmmakers just repeat familiar moves and expand established locations
    • 51 Metascore
    • 37 Mark Jenkins
    Music redeems an at-risk teen in Urban Hymn, a social-problem melodrama whose other major characters don’t fare so well.
    • 23 Metascore
    • 35 Mark Jenkins
    First-time feature director Peter Billingsley could have enlivened the action with more vigorous editing. Everything takes too long, and the slapstick sequences are particularly lethargic.
    • 30 Metascore
    • 35 Mark Jenkins
    Indeed, despite occasional attempts at plot and character, this is basically a roast with scenery.
    • 75 Metascore
    • 35 Mark Jenkins
    The movie maintains its sense of style throughout, but that hardly matters as the story just gets stupider and stupider.
    • 33 Metascore
    • 35 Mark Jenkins
    A disastrous father-son endeavor about a calamitous father-son expedition, After Earth doesn't play to the strengths of any of its major participants.
    • 55 Metascore
    • 30 Mark Jenkins
    Jesse's nobility is one of the primary reasons Liberal Arts is so hard to take.
    • 31 Metascore
    • 30 Mark Jenkins
    The new Red Dawn's body count is as high as its predecessor's. But the fatalism in all of Milius' projects - even the silliest ones - has weight. That's not the case with the remake, whose portrayal of violence derives more from video games than from history.
    • 27 Metascore
    • 30 Mark Jenkins
    Style can be a risky thing in a movie like this, which aspires above all to inoffensiveness. Originally titled "Playing the Field," which was deemed too racy, this rom-com would have been more aptly renamed "Running Out the Clock."
    • 29 Metascore
    • 25 Mark Jenkins
    At every turn, the movie is less moving than the real-life events that inspired it.
    • 7 Metascore
    • 25 Mark Jenkins
    Most of the time, though, the movie is too busy being saucy or sappy to even look at its target.
    • 28 Metascore
    • 25 Mark Jenkins
    As the loosely aligned band of survivors turns into a pack of sociopathic loners, the only reasonable conclusion is that they were all pretty rotten to begin with.
    • 41 Metascore
    • 25 Mark Jenkins
    What's the difference between an action figure and an action star? Very little in G.I. Joe: Retaliation, which features no performances of note, even from such combat-tested thespians as Bruce Willis, Jonathan Pryce and Dwayne Johnson.
    • 38 Metascore
    • 12 Mark Jenkins
    There’s a fundamental problem here. The movie relies on the instinctual human fear of death, but its message is that dying is a promotion.
    • 19 Metascore
    • 5 Mark Jenkins
    This movie, like all of Sandler's, insists on its star's likability.

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