For 264 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 1.5 points higher than other critics. (0-100 point scale)

Mark Jenkins' Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 90 Mesrine: Public Enemy No. 1
Lowest review score: 5 Grown Ups 2
Score distribution:
  1. Negative: 19 out of 264
264 movie reviews
    • 59 Metascore
    • 65 Mark Jenkins
    Relocating Dangerous Liaisons, the 18th-century French erotic intrigue, to 1930s Shanghai is a bold move. And yet it's not especially surprising. In Chinese movies, that city in that decade frequently serves as shorthand for decadence.
    • 76 Metascore
    • 65 Mark Jenkins
    Perhaps because he's an actor, Rapaport prefers drama to analysis. And this story has plenty of conflict.
    • 66 Metascore
    • 65 Mark Jenkins
    Deeply silly in a classic mode, The Fairy continues the French new wave of near-silent cinema.
    • 58 Metascore
    • 65 Mark Jenkins
    Although the story is told with narration rather than dialogue, Tobias relies too much on reconstruction. A more inventive melding of documentary and docudrama would have benefited the film, whose most moving scenes all involve real members of the families. A bit more historical and geographic context would also be useful.
    • 70 Metascore
    • 65 Mark Jenkins
    The documentary's most memorable vignette is suitably unnerving: a visit to northern China, where the threatened disappearance of bees has already come to pass, leaving workers to pollinate fruit trees ... by hand.
    • 87 Metascore
    • 65 Mark Jenkins
    There's nothing unexpected in this well-made picture, aside from the name of the director: Takeshi Miike.
    • 57 Metascore
    • 65 Mark Jenkins
    While Populaire would still have suffered from being overlong and overfamiliar, a smoother leading man could have done much to boost the intended Cary Grant vibe.
    • 58 Metascore
    • 63 Mark Jenkins
    Annaud and his crew, including wolf trainer Andrew Simpson, nicely illustrate the animals’ cunning and coordination.... The human drama is more perfunctory.
    • 51 Metascore
    • 63 Mark Jenkins
    Its cinematic flair nearly overcomes the awkward story.
    • 56 Metascore
    • 63 Mark Jenkins
    The Fluffy Movie’s principal weakness is that it’s not much of a movie. There’s no particular reason to watch this in a theater rather than on television.
    • 56 Metascore
    • 63 Mark Jenkins
    In its second half, “Kundo” becomes robust and exhilarating. The filmmakers stage cast-of-dozens battle scenes and one-on-one showdowns with equal brio.
    • 74 Metascore
    • 63 Mark Jenkins
    Douglas Tirola’s documentary is brisk and entertaining, if not especially thoughtful.
    • 71 Metascore
    • 63 Mark Jenkins
    The brawling itself is every bit as inventive and exhilarating this time around... The script and acting, however, prove less successful.
    • 74 Metascore
    • 63 Mark Jenkins
    In My Father’s House offers lots of interesting raw material, but it could use a disinterested observer’s remix.
    • tbd Metascore
    • 63 Mark Jenkins
    It’s just a question of what route Angie and Marco will take to happiness. Yet their unsurprising journey is lively and entertaining, thanks in equal measure to the movie’s star and its director.
    • 55 Metascore
    • 63 Mark Jenkins
    The inspirational docudrama nicely evokes the havoc of the initial cave-in, but spends too much time above ground to convey the existential horror of the almost-buried men.
    • 57 Metascore
    • 63 Mark Jenkins
    Ip Man 3 credibly conjures the period with soundstage sets, rock-and-roll oldies and slicked-back hair. But director Winston Yip shows less concern for authenticity in Ip’s antagonists.
    • 48 Metascore
    • 60 Mark Jenkins
    The plot fails to deliver a single surprise, however, and the characterizations are thin even by the standards of the tough-guy genre.
    • 57 Metascore
    • 60 Mark Jenkins
    Here and There has been compared to such Jim Jarmusch films as "Stranger Than Paradise," and "Lungulov" does emulate Jarmusch's deliberate pace, minimal dialogue, deadpan humor and strong sense of place. In fact, Belgrade is the movie's most compelling character, its tattered charm underscored by back-street New York locations that oddly evoke Eastern Europe.
    • 49 Metascore
    • 60 Mark Jenkins
    The movie is crisp and contemporary enough to inaugurate another franchise for Statham.
    • 54 Metascore
    • 60 Mark Jenkins
    The broad comedy clashes with the movie's final message: that 6,000 girls face genital mutilation every day.
    • 49 Metascore
    • 60 Mark Jenkins
    As an investigation into American municipal corruption, Broken City is, well, damaged. But as an opportunity for hard-boiled types to trade threats, blows and caustic banter, this modern-day noir works reasonably well.
    • 55 Metascore
    • 60 Mark Jenkins
    Historical records being what they are, the filmmakers are forced to speculate about certain things, but where facts are known they generally adhere to them.
    • 57 Metascore
    • 60 Mark Jenkins
    Triumph seems the wrong note for a feature film about mass murder. Yet Gallenberger insists on an old-school historical melodrama, with the darkest of terrors leavened by humor, tenderness and even romance. It's only the terror that rings true.
    • 55 Metascore
    • 60 Mark Jenkins
    Thanks to his major role in songwriting, Krieger is credited repeatedly, but the other two players recede as the band increasingly becomes The Jim Morrison Show.
    • 53 Metascore
    • 60 Mark Jenkins
    The protagonists of Late Bloomers have a problem, but it's not that they're getting older. Their dilemma is that they're reacting so differently to aging.
    • 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.
    • 79 Metascore
    • 60 Mark Jenkins
    The deliberate pace may suggest that the film is being thoughtful, but Let Me In is really just an exploitation movie with the confidence to take it slow.
    • 58 Metascore
    • 60 Mark Jenkins
    Freakonomics' commercial success reflected the once-fashionable notion that economics could explain, well, everything.
    • 30 Metascore
    • 60 Mark Jenkins
    Rickman is too theatrical, and too British, to vanish entirely into the person of Hilly Kristal. But he's entertaining to watch, and ultimately one of the more persuasive actors in a movie that suffers from as many odd casting decisions as Lee Daniels' The Butler.

Top Trailers