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
    • 52 Metascore
    • 55 Mark Jenkins
    The movie's violence, although gruesome, flirts with slapstick, and the story appears bound for domestic comedy when all the major characters sit down for Thanksgiving dinner at June and Chet's grand Victorian farmhouse. But the meal becomes more freak show than satire.
    • 65 Metascore
    • 55 Mark Jenkins
    Brand's character, who combines Bono's moral sanctimony with Keith Richards' supernatural hedonism, ultimately doesn't add up.
    • 45 Metascore
    • 55 Mark Jenkins
    This is among the better Allen knockoffs of recent years, even if a few of its riffs seem hazardously off-key.
    • 24 Metascore
    • 50 Mark Jenkins
    If Nenette as a character is more a narrative convenience than a depiction of an actual condition, her permanent childhood does provide the 63-year-old Balasko with an exuberant, unpredictable role. That she continues to make work for herself as both an actress and a director is a good thing, but it would be better if she found a more ambitious writer.
    • 52 Metascore
    • 50 Mark Jenkins
    Nanny McPhee, the homely yet exemplary governess, is back. Why? Hard to say, but one thing is certain: Writer-star Emma Thompson didn't do it for the kids.
    • 61 Metascore
    • 50 Mark Jenkins
    Despite the local color, the movie isn't especially globalized. The major characters all speak English, and the action sequences throb to the music of Lady Gaga, the Roots and Gorillaz.
    • 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.
    • 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.
    • 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.
    • 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.

Top Trailers