For 249 reviews, this critic has graded:
  • 49% higher than the average critic
  • 2% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 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: 18 out of 249
249 movie reviews
    • 66 Metascore
    • 60 Mark Jenkins
    Provocative yet far from definitive, Pink Ribbons, Inc. is a critique of "breast-cancer culture." It could even be called a blitz on pink-ribbon charities and their corporate partners - though to use that term would be to emulate the war and sports metaphors the documentary rejects.
    • 66 Metascore
    • 70 Mark Jenkins
    Quietly astonishing documentary.
    • 66 Metascore
    • 55 Mark Jenkins
    Many of the White House scenes are jarringly motley, as Whitaker maintains Gaines' dignity against a series of performances that range from bland (James Marsden's JFK) to cartoonish (Liev Schreiber's LBJ). It comes as a relief when Daniels reduces Jimmy Carter and Gerald Ford to TV clips — though that strategy makes the film even more of a stylistic jumble.
    • 66 Metascore
    • 60 Mark Jenkins
    Puzzle has some gentle fun with the clash of staid and hip.
    • 66 Metascore
    • 65 Mark Jenkins
    Deeply silly in a classic mode, The Fairy continues the French new wave of near-silent cinema.
    • 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.
    • 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.
    • 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.
    • 65 Metascore
    • 70 Mark Jenkins
    A veteran film editor making her first feature, Israel emphasizes the area's low-key beauty.
    • 65 Metascore
    • 60 Mark Jenkins
    German history and culture are among Sokurov's concerns in this visually compelling, intellectually scattershot movie.
    • 65 Metascore
    • 60 Mark Jenkins
    Circumstance is best during its simpler, more naturalistic moments. In one, Mehran rebuffs a junkie who stumbles into the mosque, only to see that an Islamic hardliner is more compassionate.
    • 65 Metascore
    • 70 Mark Jenkins
    The Salt of Life is easygoing and naturalistic, but clearly a work of imagination.
    • 65 Metascore
    • 65 Mark Jenkins
    The French Minister boasts robust pacing, screwball-comedy banter and an exuberant central performance. For most American viewers, though, the movie could use footnotes to go with its subtitles.
    • 65 Metascore
    • 70 Mark Jenkins
    The film, while unfailingly entertaining, feels a little small for its subject.
    • 65 Metascore
    • 60 Mark Jenkins
    Teresa's doggedness parallels the movie's own. Paradise: Love would be more compelling if it had a second act in which either its protagonist or one of her boy toys came to some sort of realization. Instead, Seidl's strategy is to reiterate and escalate, which is finally more exhausting than illuminating.
    • 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.
    • 65 Metascore
    • 55 Mark Jenkins
    Brand's character, who combines Bono's moral sanctimony with Keith Richards' supernatural hedonism, ultimately doesn't add up.
    • 65 Metascore
    • 60 Mark Jenkins
    The movie has more sensibility than sense, but it seems cunning next to such silly tough-girl fare as "Kick-Ass" and "Sucker Punch."
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 65 Mark Jenkins
    Perhaps the ending worked better in the book, Muriel Barbery's The Elegance of the Hedgehog, which sold more than a million copies in France. Certainly this adaptation, Mona Achache's directorial debut, is a very bookish movie.
    • 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.
    • 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.
    • 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.
    • 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."
    • 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.
    • 63 Metascore
    • 70 Mark Jenkins
    Strange and uncompromisingly personal. It's also vivid and unforgettable.
    • 63 Metascore
    • 55 Mark Jenkins
    Cooper does slow the action and set it in the least glamorous of circumstances, which drains the pleasure from the thriller conventions. But just because Out of the Furnace isn't much fun doesn't make it profound.
    • 63 Metascore
    • 80 Mark Jenkins
    Despite some dark undercurrents, the movie emphasizes humor, and its best moments are more than kind of funny.

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