For 235 reviews, this critic has graded:
  • 50% higher than the average critic
  • 2% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 2.9 points higher than other critics. (0-100 point scale)

Mark Jenkins' Scores

  • Movies
Average review score: 62
Highest review score: 90 Mesrine: Public Enemy No. 1
Lowest review score: 5 Grown Ups 2
Score distribution:
  1. Negative: 14 out of 235
235 movie reviews
    • 89 Metascore
    • 90 Mark Jenkins
    Quite aside from Shinto transformation parables or Buddhist reincarnation teachings, the final scene shows how family wisdom is conserved and recycled. It's a moment that might elicit a smile or a tear, or perhaps both.
    • 72 Metascore
    • 90 Mark Jenkins
    Any film about a flashy criminal threatens to glamorize its protagonist, but both Mesrine episodes are careful to detail the many goofs made by the crook and his accomplices.
    • 65 Metascore
    • 90 Mark Jenkins
    Wild Grass is an elegant vessel for outlandish thoughts and troubling impulses. In his rejection of cinematic naturalism, Resnais has made a movie that's both utterly contrived and compellingly lifelike.
    • 86 Metascore
    • 90 Mark Jenkins
    Although the monks don't seek death, Of Gods And Men can be seen as an ode to religiously motivated self-sacrifice. But Beauvois deliberately leaves the story open-ended. The value of these men's lives, he's noting, is not defined by how they ended.
    • 79 Metascore
    • 90 Mark Jenkins
    Its greatest advantage over the book is that this is a story well-documented in moving pictures. In addition to recent interviews with the five, the filmmakers deftly marshal news footage, clips from the supposed confessions, and trenchant analysis.
    • 83 Metascore
    • 90 Mark Jenkins
    As Arbor, nonprofessional actor Chapman gives one of the fiercest performances of this kind since Martin Compston's turn as a different sort of teenage entrepreneur in Loach's 2002 film "Sweet Sixteen." He's riveting, even in his final moment of calm.
    • 77 Metascore
    • 90 Mark Jenkins
    A Touch of Sin is the most dramatic and even lurid of writer-director Jia Zhangke's movies. The film-festival star hasn't quite become a Chinese Tarantino, however.
    • 86 Metascore
    • 90 Mark Jenkins
    Evil cannot triumph in a movie made in China, but Drug War's ultimate scene nonetheless manages to astonish, revealing both Choi's character and the nature of mainland justice. Rather than dodging the harshness of Chinese authority, To depicts it implacably. He does exactly what the censors want, and yet subverts their worldview.
    • 94 Metascore
    • 88 Mark Jenkins
    Like most of Rohmer’s movies, A Summer’s Tale is comic, humane and much more complicated than it seems at first. The fresh-faced actors, realistic dialogue and naturalistic performances suggest a casual approach, but as the story progresses, the filmmaker’s control is increasingly evident.
    • 68 Metascore
    • 85 Mark Jenkins
    While the story pivots on an actual girl-who-cried-wolf incident, this elegantly constructed movie is about much more than that.
    • 62 Metascore
    • 85 Mark Jenkins
    Like "The Big Sleep," Micmacs tells a tangled story that may be just too much for some viewers. But the film moves nimbly, has an exuberant sense of style and is leavened by comic asides, many of them strictly visual. (The movie would be plenty of fun even without the subtitles.)
    • 74 Metascore
    • 85 Mark Jenkins
    The movie is a curiosity, of course. Both Marc and Kim have decidedly unusual life stories.
    • 70 Metascore
    • 85 Mark Jenkins
    It's a surprisingly nuanced and sober tale of brotherhood and betrayal.
    • 69 Metascore
    • 85 Mark Jenkins
    Sergio Leone learns to speak Korean in The Good, the Bad, the Weird, an exuberant tale of greed, vengeance and, well, weirdness.
    • 94 Metascore
    • 85 Mark Jenkins
    Most of the dialogue is invented, but the sweep of events is genuine.
    • 78 Metascore
    • 85 Mark Jenkins
    If the movie's mix of nihilistic violence and snarky attitude suggests "In Bruges," it's a family resemblance. The writer-director of that film, which also starred Gleeson, is Martin McDonagh, the younger brother of this one's. Despite the similarities, the older McDonagh has a lighter touch. Where "In Bruges" ultimately became a mechanical bloodbath, The Guard scampers quickly through the action scenes, delivering commentary on genre conventions as it goes.
    • 71 Metascore
    • 85 Mark Jenkins
    The Empire State's eminent domain laws are unusually loose, but most of the rest of this story is pertinent far beyond New York. Change a few names and add the next credit bubble, and a Brooklyn-style Battle could be headed to a neighborhood near you.
    • 82 Metascore
    • 85 Mark Jenkins
    Ruiz, whose best-known films include his 1999 adaptation of Proust's "Time Regained," coolly roams the ambiguous territories between tragedy and soap opera, and between the traditional and the modern.
    • 82 Metascore
    • 85 Mark Jenkins
    The movie is not a story but a text, and Cedar is its playfully intrusive interpreter.
    • 64 Metascore
    • 85 Mark Jenkins
    We Have a Pope is not the filmmaker's next assault on a Roman patriarch. It's a half-sweet, half-rueful existential drama in which the satire comes secondary.
    • 80 Metascore
    • 85 Mark Jenkins
    The Turin Horse is an absolute vision, masterly and enveloping in a way that less personal, more conventional movies are not. The film doesn't seduce; it commands.
    • 81 Metascore
    • 85 Mark Jenkins
    Ai is a great movie subject for many reasons, but one is that he understands the power of appearing larger than life on the silver screen.
    • 75 Metascore
    • 85 Mark Jenkins
    In Hollywood these days, such epic transformations are rendered with computers and called "morphing." Offering a lesson both to filmmakers and climate-change deniers, Chasing Ice demonstrates how much more powerful it is to capture the real thing.
    • 80 Metascore
    • 85 Mark Jenkins
    Although it's the fourth documentary about the West Memphis Three, West of Memphis doesn't feel superfluous. This bizarre case rates at least 18 documentaries - one for each year Damien Echols, Jason Baldwin and Jessie Misskelley spent in prison for murders they clearly didn't commit.
    • 73 Metascore
    • 85 Mark Jenkins
    The movie revisits the themes (and some of the same characters) of Amy Berg's chilling 2006 chronicle "Deliver Us from Evil." But it reaches further, expanding from one American diocese to Ireland, Italy, the Vatican and the career of the current pope.
    • 76 Metascore
    • 85 Mark Jenkins
    Even the movie's title, or rather the source of it, is a surprise. Not to spoil the fun, but it's neither Assange nor one of his allies who nonchalantly acknowledges that "we steal secrets."
    • 74 Metascore
    • 85 Mark Jenkins
    One thing Doueiri didn't get from Tarantino is smirky attitude; The Attack is sad and resigned, but also tender.
    • 69 Metascore
    • 85 Mark Jenkins
    Big Star was essentially Chris Bell's band, and emotionally, Big Star: Nothing Can Hurt Me is Bell's movie. Joining rock's dead-at-27 club via a 1978 car crash, he left behind a fine, then-unreleased album and two siblings who tell his story movingly. As they recount his final years, the sadness in Bell's songs comes to seem eerily prescient.
    • 75 Metascore
    • 85 Mark Jenkins
    Only the genre's most studious followers will be able to watch Muscle Shoals without being regularly astonished: Even if it sometimes gets lost in its byways, Greg "Freddy" Camalier's documentary tells an extraordinary story.
    • 81 Metascore
    • 85 Mark Jenkins
    Wadjda offers an interesting contrast to films made in Iran. Where the latter country has a long cinematic tradition, Mansour's is the first feature shot entirely in Saudi Arabia.
    • 69 Metascore
    • 80 Mark Jenkins
    Despite its fanciful premise, Never Let Me Go looks and feels utterly real.
    • 77 Metascore
    • 80 Mark Jenkins
    The documentary is powerful, as far as it goes, but would be stronger if the filmmakers had been able to follow the story further.
    • 63 Metascore
    • 80 Mark Jenkins
    Despite some dark undercurrents, the movie emphasizes humor, and its best moments are more than kind of funny.
    • 73 Metascore
    • 80 Mark Jenkins
    Arguably the most dynamic Asian action film since the 1990s peaks of John Woo and Tsui Hark, The Raid: Redemption works as sheer gladiatorial ballet.
    • 74 Metascore
    • 80 Mark Jenkins
    As humane as it is disturbing.
    • 71 Metascore
    • 80 Mark Jenkins
    His latest, the earthy yet subtly evocative 11 Flowers, is in the same mode as the one that's best known in the U.S., 2001's "Beijing Bicycle." Both are simple, resonant tales of youths who have something taken from them.
    • 81 Metascore
    • 75 Mark Jenkins
    Police, Adjective has considerable power, and the issues it raises linger in the mind.
    • 80 Metascore
    • 75 Mark Jenkins
    Watching Lorna's attempt to balance self-interest and empathy can be heartbreaking. If Lorna's Silence as a whole doesn't rank among the Dardennes's best, it does follow the money to moments and characters that are unforgettable.
    • 70 Metascore
    • 75 Mark Jenkins
    The moments when the guitarists teach the others their best-known riffs are fascinating.
    • 71 Metascore
    • 75 Mark Jenkins
    The movie's principal liability is that most of the music is highly derivative. Ghobadi spends a lot of time on songs that are more interesting sociologically than musically.
    • 47 Metascore
    • 75 Mark Jenkins
    A splendidly plotted if thematically unsurprising comedy. The pleasure comes not from fresh insights, but from a droll script and expertly timed performances.
    • 74 Metascore
    • 75 Mark Jenkins
    An evocative overview of anti-gay hysteria in the 1960s, a period when homosexuality was illegal in every state except Illinois.
    • 49 Metascore
    • 75 Mark Jenkins
    Flashy and fun, and a nifty showcase for Yen.
    • 58 Metascore
    • 75 Mark Jenkins
    And if the narrative does drag in places, Amalric and Del Toro could hardly be better; the contrast between their styles fits ideally the characters of excitable analyst and impassive patient.
    • 84 Metascore
    • 75 Mark Jenkins
    The director recut the movie several times as events overtook it. She may yet do so again — although if more major changes occur, they could merit beginning another documentary. As The Square makes clear, Noujaim would not hesitate to rush back into the fray.
    • 55 Metascore
    • 75 Mark Jenkins
    The Attorney can be melodramatic, and first-time feature director Yang Woo-seok is not yet a singular filmmaker. But the movie is carried by its rousing pro- democracy message and a lively performance from the versatile leading man.
    • 74 Metascore
    • 70 Mark Jenkins
    A Woman in Berlin doesn't justify retribution, but in such moments it does clarify the horrible logic of vengeance.
    • 66 Metascore
    • 70 Mark Jenkins
    It's even harder being the semi-supportive wife, which is what generates most of the electricity in this slight but entertaining documentary.
    • 74 Metascore
    • 70 Mark Jenkins
    The movie's storytelling can be as old-fashioned as its appearance. Some sequences are quick and messy, but others are grand and theatrical.
    • 49 Metascore
    • 70 Mark Jenkins
    On balance, though, Turning Green is more fresh than stale. Gallery holds his own impressively with the better-known supporting players, and the script -- a Project Greenlight runner-up -- is solidly constructed.
    • 56 Metascore
    • 70 Mark Jenkins
    The semi-autobiographical, microbudgeted Breaking Upwards is indeed precious. But it's also smart, witty and less self-absorbed than you might reasonably expect.
    • 72 Metascore
    • 70 Mark Jenkins
    Quietly, the film makes the case that "enhanced interrogation techniques" were no enhancement. Interviewing jihadis "by the book," one interrogator testifies, yielded better information than violence and deprivation.
    • 85 Metascore
    • 70 Mark Jenkins
    The movie ends powerfully, with a sudden pileup of fright, death and a disconcerting glimpse of beauty. If Lebanon's goal is to keep the viewer on edge and off balance, its final minutes are exemplary.
    • 69 Metascore
    • 70 Mark Jenkins
    Confrontational and hyperactive, Enter the Void is a difficult film to experience. That's not because Noe is somehow inept. The Argentina-born French writer-director knows exactly what he's doing and what effect his swirling camera, exuberant colors and strobelike effects will have.
    • 72 Metascore
    • 70 Mark Jenkins
    A fine overview, with enough new material to please Gould buffs. But the film fails to demonstrate that conventional biography is the best path to its subject's inner life.
    • 65 Metascore
    • 70 Mark Jenkins
    The film, while unfailingly entertaining, feels a little small for its subject.
    • 65 Metascore
    • 70 Mark Jenkins
    The movie evokes its time and place so potently that it almost doesn't matter that Hamilton's script proves unequal to her vision.
    • 61 Metascore
    • 70 Mark Jenkins
    To devotees of Al Gore's prophecy of a soon-to-be-parboiled Earth, "Skeptical Environmentalist" author Bjorn Lomborg is the devil. So what does an ecologically incorrect demon look like? Like an aging Danish surfer dude, it turns out.
    • 57 Metascore
    • 70 Mark Jenkins
    Back in Canada, Dallaire tells a psychiatrist that he remembers Rwanda in flashbacks that are "not like memories at all." Shake Hands with the Devil captures something of that sensation; it's a depiction of events that are too painful to remember, too essential to forget.
    • 67 Metascore
    • 70 Mark Jenkins
    Kawasaki's Rose is the first Czech or Slovak film to address the issue of collaboration with the former Czechoslovakia's bygone secret police. That history must still be raw for some who survived the era, as it is in "The Lives of Others."
    • 63 Metascore
    • 70 Mark Jenkins
    Not even the presence of a goth-chick hotel clerk could turn Nobody Else But You into "The Girl With the Dragon Tattoo." The movie may teeter on the edge of Switzerland, but its playful sensibility is entirely French.
    • 64 Metascore
    • 70 Mark Jenkins
    Canner's eye-opening, entertaining account of the search for the little pill that supplies the Big O is looney-tunes enough without the cartoon asides.
    • 76 Metascore
    • 70 Mark Jenkins
    The clinical style doesn't play to the director's strengths. A Dangerous Method didn't have to be another "Naked Lunch," but Freud plus Jung plus Cronenburg should have equaled something a little more dissonant and troubling.
    • 74 Metascore
    • 70 Mark Jenkins
    Tabloid spins a heck of a yarn, while implicitly warning viewers not to be so entertained that they believe every gamy detail.
    • 71 Metascore
    • 70 Mark Jenkins
    Succeeds as a character study, while gently raising questions about human use and misuse of animals.
    • 64 Metascore
    • 70 Mark Jenkins
    Film Socialisme, his (Godard) latest intellectual assault, includes grating noise, scruffy camera-phone video and subtitles in fractured "Navajo English."
    • 66 Metascore
    • 70 Mark Jenkins
    Quietly astonishing documentary.
    • 73 Metascore
    • 70 Mark Jenkins
    Would be more satisfying if it were a more definitive look at Guantanamo's workings. All Cote and Henriquez can provide is some glimmers of insight about just one of the men held there. But that's enough to make their movie enlightening, compelling and, finally, heartbreaking.
    • 68 Metascore
    • 70 Mark Jenkins
    DeNoble aside, Addiction Incorporated finds most of its heroes in Congress, the White House and federal agencies.
    • 52 Metascore
    • 70 Mark Jenkins
    Klapisch is a master of the half-biting, half-soothing farce, and he usually keeps the divergent tones in harmony.
    • 76 Metascore
    • 70 Mark Jenkins
    The stories are horrific, if laced with Tarantino-style humor.
    • 77 Metascore
    • 70 Mark Jenkins
    The movie's first word is oishi, Japanese for "delicious," and what follows is a treat for sushi veterans. First-timers, however, may wish for a little more context.
    • 65 Metascore
    • 70 Mark Jenkins
    A veteran film editor making her first feature, Israel emphasizes the area's low-key beauty.
    • 65 Metascore
    • 70 Mark Jenkins
    The Salt of Life is easygoing and naturalistic, but clearly a work of imagination.
    • 50 Metascore
    • 70 Mark Jenkins
    Yet Elles has contemporary pertinence. As the Dominique Strauss-Kahn affair showed, feminism hasn't significantly mellowed France's macho culture. And sexual predation on young women from Eastern Europe remains a timely topic.
    • 84 Metascore
    • 70 Mark Jenkins
    The movie falls somewhere between the austere and the playful.
    • 76 Metascore
    • 70 Mark Jenkins
    Hara-Kiri is formal, deliberate, leisurely almost to a fault. It features the sort of slow-gliding camera movements favored by Kenji Mizoguchi, one of the greatest 20th century Japanese filmmakers - and the one least like Miike.
    • 61 Metascore
    • 70 Mark Jenkins
    This mashup of genres and themes doesn't entirely succeed, but it is warm, funny and ably crafted.
    • 81 Metascore
    • 70 Mark Jenkins
    Sister offers several reasons why the boy can't or won't return to ski-resort robbery next winter. But the movie also quietly suggests that, whatever he does, Simon will always be the boy from down below, boldly impersonating someone born to the heights.
    • 76 Metascore
    • 70 Mark Jenkins
    The story is carefully constructed, with moments that seem offhand initially, but are later revealed as crucial.
    • 71 Metascore
    • 70 Mark Jenkins
    The Big Picture has been compared to "The Talented Mr. Ripley," the twice-filmed Patricia Highsmith novel about a sociopath who kills and then impersonates a rich acquaintance. But in spirit it's closer to Michelangelo Antonioni's 1975 "The Passenger," with Jack Nicholson as an existential adventurer who poses as a dead stranger.
    • 62 Metascore
    • 70 Mark Jenkins
    Dragon is partly an homage to "One Armed Swordsman," a 1967 kung fu classic whose star, Jimmy Wang Yu, plays the new movie's arch-villain. But there's much Western influence: Jinxi's plight recalls David Cronenberg's "A History of Violence," and Baijiu's cerebral and flashy style of detection - complete with animated glimpses of victims' innards - suggests Guy Ritchie's Sherlock Holmes series. Dragon is also one of several recent Chinese crime movies that borrow from CSI-style TV dramas.
    • 63 Metascore
    • 70 Mark Jenkins
    Strange and uncompromisingly personal. It's also vivid and unforgettable.
    • 74 Metascore
    • 70 Mark Jenkins
    The Pirogue spends only about an hour on open water, but that's enough to convey the risks that make the trip foolish, and the desperation that makes it inevitable.
    • 57 Metascore
    • 70 Mark Jenkins
    Before settling into such comfortable territory, however, the movie is propulsive and involving. If The Company You Keep is far from radical, it's pretty audacious by the standards of counterrevolutionary Hollywood.
    • 79 Metascore
    • 70 Mark Jenkins
    Ultimately, the bleak universe conjured by Beyond the Hills is more compelling than what happens in it.
    • 72 Metascore
    • 70 Mark Jenkins
    Shot entirely in Hackney — a mostly ungentrified London borough — My Brother the Devil has a strong odor of authenticity.
    • 64 Metascore
    • 70 Mark Jenkins
    Renoir doesn't present a particularly dynamic tale, and its attempts at stage-like drama — notably the sometimes epigrammatic dialogue — can seem overdone. But the performances are assured, the ambiance impeccable and the themes resonant.
    • 74 Metascore
    • 70 Mark Jenkins
    Ultimately, Winocour does stage an instance of what could be called love. It's unconvincing narratively, alas, and an odd disruption of the tone in a film that is otherwise bracingly clinical.
    • 73 Metascore
    • 70 Mark Jenkins
    Kore-eda is himself a father now, which may explain why his work has gotten sunnier.
    • 69 Metascore
    • 70 Mark Jenkins
    The result is complex yet lighthearted, as diverting as it is meditative. Resnais uses contrapuntal editing — one of his trademarks — as well as artificial settings, special effects, split screens, cinematic references and anachronistic devices to keep viewers tipsily off-balance.
    • 83 Metascore
    • 70 Mark Jenkins
    Those who don't savor Cohen's leisurely rhythms will probably not respond to Museum Hours, and even the movie's admirers will admit that it could be a little tighter. One scene that might be trimmed is the one where museum-goers pose, naked as the people on the canvases around them. The interlude certainly isn't dull, but it is a little brazen for a film that encourages its viewers to find the beauty in more commonplace sights.
    • 69 Metascore
    • 70 Mark Jenkins
    Over the nine months the movie chronicles, about half the refugees leave the school building. Many return to the Fukushima area, but none to Futaba, which is still radioactive and officially off-limits.
    • 72 Metascore
    • 70 Mark Jenkins
    Yes, The Rocket is a sports movie, with an outcome that's easily foreseen. The cultural specifics of this Laos-set tale, however, are far less predictable.
    • 65 Metascore
    • 70 Mark Jenkins
    That the same performers keep returning in different roles, playing Peruvian and Japanese flyers as well as American ones, only adds to the sense of man as machine. Everything, and everyone, must run like clockwork. Yet no apparatus is foolproof.
    • 55 Metascore
    • 65 Mark Jenkins
    The movie poignantly demonstrates that, 41 years after Stonewall, there are still places in this country where gay people cannot simply be themselves.
    • 79 Metascore
    • 65 Mark Jenkins
    Despite the contrived climax, I Am Love has emotional power. The contrast between duty and passion is well-drawn, and Swinton's transition from winter matriarch to springtime lover is compelling, even if the circumstances are implausible.
    • 68 Metascore
    • 65 Mark Jenkins
    Slight but engaging, and considerably energized by its two young leads, Daly's Kisses gives several fresh spins to one of Irish cinema's most common recent subjects: troubled working-class children on the lam.
    • 42 Metascore
    • 65 Mark Jenkins
    Ideally, The Taqwacores should be seen with "Taqwacore: The Birth of Punk Islam," a new documentary that provides a better sense of the scene's aims and motivations. Zahra's jumpy feature film captures much of taqwacore's energy, but less of its meaning.
    • 87 Metascore
    • 65 Mark Jenkins
    There's nothing unexpected in this well-made picture, aside from the name of the director: Takeshi Miike.