For 333 reviews, this critic has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 2.2 points lower than other critics. (0-100 point scale)

Mark Jenkins' Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 90 Of Gods and Men
Lowest review score: 5 Grown Ups 2
Score distribution:
  1. Negative: 28 out of 333
333 movie reviews
    • 49 Metascore
    • 37 Mark Jenkins
    The movie’s ending could be called a twist. But it’s really more of a belly flop.
    • 46 Metascore
    • 50 Mark Jenkins
    The result won’t sway nonbelievers, but is mostly watchable and occasionally even moving.
    • 49 Metascore
    • 25 Mark Jenkins
    The movie is so flimsy that people might wonder how it could possibly have been made.
    • 77 Metascore
    • 63 Mark Jenkins
    Even ardent Pattinson fandom won’t be enough to convert mainstream American audiences to the art-house director’s dark outlook and elliptical style.
    • 49 Metascore
    • 63 Mark Jenkins
    The Best of Enemies is perhaps the first account of the United States’s traumatic racial history that could be adapted into a sitcom.
    • 42 Metascore
    • 37 Mark Jenkins
    If the new biopic Mapplethorpe presents this transgressive vision is vivid detail — and it does — that’s only because it includes so many of Mapplethorpe’s pictures. Everything else in the film is timid and pedestrian.
    • 67 Metascore
    • 50 Mark Jenkins
    There are some amusing (and even poignant) moments between Franky and the two girls, who are the movie’s most interesting characters. But all the parents come across as stiff and hollow, and so does Ballas.
    • 88 Metascore
    • 75 Mark Jenkins
    It’s a more visceral trip than any moviegoer — even the armchair experts — has ever taken before.
    • 57 Metascore
    • 63 Mark Jenkins
    An action thriller in which the Irish actor plays Nels Coxman, a snowplow operator at a Colorado ski resort with the death-dealing skills of a special-ops commando. This time, the absurdity is intentional.
    • 59 Metascore
    • 50 Mark Jenkins
    While it’s not exactly a sequel to “RBG,” the hit documentary from earlier this year, the film does seem designed primarily for viewers who just can’t get enough Ruth Bader Ginsburg. Viewed through that lens, On the Basis of Sex sort of works. As filmmaking, it’s clunky, but as fan service, it’s more effective.
    • 66 Metascore
    • 50 Mark Jenkins
    The tight time frame gives the movie a welcome urgency, but it doesn’t prevent its second half from becoming lurid and melodramatic.
    • 69 Metascore
    • 63 Mark Jenkins
    Boy Erased is a showcase for Hedges, who played a closeted boy in “Lady Bird” and who plays a teen with a different sort of burden in the upcoming drama “Ben Is Back.” In each of those roles, the boy-next-door actor finds just the right combination of ordinary and anomalous.
    • 69 Metascore
    • 63 Mark Jenkins
    What works best here comes between the movie’s heavy opening and its lightweight conclusion.
    • 64 Metascore
    • 63 Mark Jenkins
    Fortunately, the maudlin moments are offset by fine performances, flashes of humor and a visual sense that’s more astute than the script.
    • 69 Metascore
    • 75 Mark Jenkins
    Greengrass employs a handheld camera effectively, as usual, to simulate confusion, panic and terror. He cuts away from the most horrific moments of slaughter.
    • 71 Metascore
    • 63 Mark Jenkins
    Like most mysteries, this one relies heavily on coincidental discoveries, even if they arrive via Gmail or FaceTime, rather than more traditional means. But the plot’s contrivances are less problematic than the movie’s insistence on maintaining its artifice even after it becomes a hindrance.
    • 67 Metascore
    • 50 Mark Jenkins
    If this vaguely cyberpunk, occasionally comic Australian flick were named after its own qualities, it would have been called “Knockoff.”
    • 74 Metascore
    • 75 Mark Jenkins
    Taking its cues from the religious severity of the community in which it’s set — and the London weather — Lelio’s latest film is austere, deliberate and rather chilly.
    • 44 Metascore
    • 63 Mark Jenkins
    The rest of the film has a cozy TV-commercial vibe, pumped by tunes from Katy Perry and the inevitable Neil Diamond. It’s no champion, but it’s still a reasonably good cry.
    • 66 Metascore
    • 63 Mark Jenkins
    As a form of life-coaching, this documentary is, in fact, kind of a dud.
    • 73 Metascore
    • 63 Mark Jenkins
    Autism aside, writer-director Rachel Israel’s debut film is a fairly typical, low-budget New York romance, complete with an excursion to Coney Island. What distinguishes it are Israel’s empathetic characterizations — she’s known Polansky for 15 years — and the winning performances, not only by the leads but also by the supporting players.
    • 72 Metascore
    • 63 Mark Jenkins
    Well-made and likable, without any major missteps. It’s also just a little bland.
    • 51 Metascore
    • 50 Mark Jenkins
    Viewers who aren’t in the mood for star-crossed love will prefer the slapstick and earthy humor, including a sequence in which three of the guys get pregnant. It’s another fine mess the resourceful monkey king has to rescue his comrades from.
    • 40 Metascore
    • 50 Mark Jenkins
    “Dunjia” is exuberant and visually inventive, notably in the ways it incorporates text into the images. It also benefits from engaging performances. But the story is motley and not very involving, and the anything-goes CGI undermines the battle sequences.
    • tbd Metascore
    • 63 Mark Jenkins
    With its jazz-funk score and trust-no-one scenario, The Swindlers is an entertaining if mostly routine con-game thriller.
    • 84 Metascore
    • 75 Mark Jenkins
    Campillo’s style is usually naturalistic, and the superb ensemble cast’s performances are entirely unaffected.
    • 72 Metascore
    • 63 Mark Jenkins
    Blade goes for the carotid while offering a classic look and a comic-book story. It’s part Kurosawa, part “X-Men,” part “Ichi the Killer.”
    • 68 Metascore
    • 63 Mark Jenkins
    The result is a solid if conventional bio.
    • 79 Metascore
    • 63 Mark Jenkins
    In place of catharsis, the climax provides gross-out slapstick, but writer-director S. Craig Zahler takes his handiwork so seriously that viewers may do the same.
    • tbd Metascore
    • 50 Mark Jenkins
    As both a movie and a battle plan for ending the child-sex trade, “Stopping Traffic” is disorganized and incomplete.

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