For 273 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 1 point higher than other critics. (0-100 point scale)

Mark Jenkins' Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 90 Of Gods and Men
Lowest review score: 5 Grown Ups 2
Score distribution:
  1. Negative: 21 out of 273
273 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 65 Metascore
    • 70 Mark Jenkins
    The film, while unfailingly entertaining, feels a little small for its subject.
    • 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."
    • 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.
    • 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
    Film Socialisme, his (Godard) latest intellectual assault, includes grating noise, scruffy camera-phone video and subtitles in fractured "Navajo English."
    • 71 Metascore
    • 70 Mark Jenkins
    Succeeds as a character study, while gently raising questions about human use and misuse of animals.
    • 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.
    • 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.
    • 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.
    • 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.
    • 68 Metascore
    • 70 Mark Jenkins
    DeNoble aside, Addiction Incorporated finds most of its heroes in Congress, the White House and federal agencies.
    • 76 Metascore
    • 70 Mark Jenkins
    The stories are horrific, if laced with Tarantino-style humor.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.

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