For 283 reviews, this critic has graded:
  • 51% higher than the average critic
  • 1% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 0.2 points higher than other critics. (0-100 point scale)

Mark Jenkins' Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 90 Drug War
Lowest review score: 5 Grown Ups 2
Score distribution:
  1. Negative: 24 out of 283
283 movie reviews
    • 33 Metascore
    • 50 Mark Jenkins
    Aside from the giggles induced by the romance-novel bits, the movie's principal hazard is exhaustion. There are too many characters, and too many of them spend too much time morphing into something else. Five more like this? That would be demonic.
    • 45 Metascore
    • 50 Mark Jenkins
    Next to the hopelessly inexpressive Stallone and the English-impaired Li, Statham emerges as the movie's principal wit. But the script furnishes him with only a few deadpan quips. Besides, it's no great accomplishment to be the funniest guy in a Sylvester Stallone flick.
    • 51 Metascore
    • 50 Mark Jenkins
    A 90-minute biography can't include everything, of course. But Lovelace comes on like an inquiry into the '70s zeitgeist, only to retreat into melodrama. Ultimately, the movie relies as heavily as any porn feature on its intrepid female lead. Rather than exploiting Seyfried, however, Lovelace just sort of wastes her.
    • 55 Metascore
    • 50 Mark Jenkins
    Hypermacho but tongue-in-cheek, the first 20 minutes of 2 Guns are enormous fun.
    • 16 Metascore
    • 50 Mark Jenkins
    Snow Zou’s directorial debut does have a few noteworthy attributes: attractive stars, sun-dappled cinematography and an audacious payoff.
    • 58 Metascore
    • 50 Mark Jenkins
    Pretty but inert, To the Wonder is a vaporous mystery wrapped in a gauzy enigma — a cinematic riddle that'll appeal principally to those eager for another piece, however tiny, of the puzzle that is Terrence Malick.
    • 64 Metascore
    • 50 Mark Jenkins
    The movie presents grim assessments from such experts as the Pacific Institute's Peter Gleick and professor and author Robert Glennon, yet it ends with a flurry of hopeful notes.
    • 42 Metascore
    • 50 Mark Jenkins
    Despite numerous missteps and contrivances, Olvidados succeeds as an indictment of Operation Condor’s horrors.
    • 64 Metascore
    • 50 Mark Jenkins
    It's hard to make a movie about a pederast without being exploitative, and Michael eventually comes to feel like an art house stunt.
    • 71 Metascore
    • 50 Mark Jenkins
    If nothing else, while watching Ruppert, you'll believe he believes this stuff.
    • 37 Metascore
    • 50 Mark Jenkins
    Murphy is fine as the title character, although his performance consists mostly of suppressing all of his usual shtick. He certainly doesn’t endow Mr. Church with any unexpected depths. But then neither does the script.
    • 43 Metascore
    • 50 Mark Jenkins
    Despite dramatic Hawaiian locations, up-to-date visual effects and a bit of nontraditional casting, the movie feels not especially brave and far from new.
    • 45 Metascore
    • 50 Mark Jenkins
    Miral stumbles, both thematically and stylistically. The two things that undermine the director's balance? Peace and love.
    • 40 Metascore
    • 50 Mark Jenkins
    As is typical of the genre, the plot gets sillier as it unfolds, while the violence gets gnarlier.
    • 44 Metascore
    • 50 Mark Jenkins
    The movie wavers in tone, occasionally lurching into supernatural fantasy, and withholds information in a manner that’s more annoying than tantalizing.
    • 48 Metascore
    • 50 Mark Jenkins
    But c'mon! Erotic obsession, catfights, naked chicks making out -- at heart Chloe is a midnight movie, and all the Vivaldi in the world can't change that.
    • 68 Metascore
    • 50 Mark Jenkins
    Reich has a good sense of humor, as is virtually required of an adult who's less than 5 feet tall — he has Fairbanks disease, the same condition that accounts for Danny DeVito's stature — so he's pretty much guaranteed a laugh when he hops to his feet and asks if he looks like an advocate of "big government."
    • 65 Metascore
    • 50 Mark Jenkins
    Music drives the movie, and the producers popped for the real stuff: Robert Johnson, Moby Grape and - curiously - the Sex Pistols are all here. The soundtrack is so overstuffed that it relegates Beatles and Dylan tunes to the end credits.
    • 51 Metascore
    • 50 Mark Jenkins
    There's plenty of material for a lively, profound documentary about Norman Foster. But How Much Does Your Building Weigh, Mr. Foster? is, by design, lightweight.
    • 57 Metascore
    • 50 Mark Jenkins
    "Driving Miss Daisy" this ain't. Except that it sort of is.
    • 43 Metascore
    • 50 Mark Jenkins
    Set in a high-tech yet shabby future, the remake of Total Recall is a fully realized piece of production design. But its script, credited to six authors, is more like a preliminary sketch.
    • 36 Metascore
    • 50 Mark Jenkins
    Shanghai is an exercise in retro glamour, alluring decadence and tough-guy posing, all of which it delivers in sufficient quantities.
    • 55 Metascore
    • 50 Mark Jenkins
    In the wake of numerous documentaries and a big-budget film, writer-director Clare Lewins can find little fresh material.
    • 43 Metascore
    • 50 Mark Jenkins
    Unfortunately, brutality is about all this update of 1941's The Wolf Man can do well. Mutilations, decapitations and disembowelments are handled with aplomb in the first R-rated film from director Joe Johnston (Jumanji, Jurassic Park III). But everything that doesn't involve gore feels like an afterthought.
    • 74 Metascore
    • 50 Mark Jenkins
    Set to Jeremy Turner's spare and mournful score, Narco Cultura is ultimately more pensive than lurid.
    • 68 Metascore
    • 50 Mark Jenkins
    Too much of this seething drama is devoted not to characterization but to posturing.
    • 55 Metascore
    • 50 Mark Jenkins
    Perhaps seeking to retain something of the book’s rhythm, Knight and Hallstrom let a very simple story meander for two hours and include episodes that serve no dramatic purpose.
    • 61 Metascore
    • 50 Mark Jenkins
    Like the recent "Mud," The Kings of Summer is a tale of feral adolescent pals in search of freedom and adventure. The movies even share essentially the same awkwardly contrived climax. But of the two films, The Kings of Summer is more of a comedy, with a depiction of the eternal war between teen and parent that's downright farcical.
    • 53 Metascore
    • 50 Mark Jenkins
    Like “The Intouchables,” Samba is loosely plotted and is at least 20 minutes too long. It seems ready to end half a dozen times before it finally does, with ironic payoffs for Samba and Alice that are too glib to be satisfying.
    • 44 Metascore
    • 50 Mark Jenkins
    A theological trifle that ultimately twists itself into a romantic comedy.

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