Mark Jenkins

Mark Jenkins reviews movies for NPR.org, as well as for reeldc.com, which covers the Washington, D.C., film scene with an emphasis on art, foreign and repertory cinema.

Jenkins spent most of his career in the industry once known as newspapers, working as an editor, writer, art director, graphic artist and circulation director, among other things, for various papers that are now dead or close to it.

He covers popular and semi-popular music for The Washington Post, Blurt, Time Out New York, and the newsmagazine show Metro Connection, which airs on member station WAMU-FM.

Jenkins is co-author, with Mark Andersen, of Dance of Days: Two Decades of Punk in the Nation's Capital. At one time or another, he has written about music for Rolling Stone, Slate, and NPR's All Things Considered, among other outlets.

He has also written about architecture and urbanism for various publications, and is a writer and consulting editor for the Time Out travel guide to Washington. He lives in Washington.

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Movie Reviews
4:03 pm
Thu June 7, 2012

'Bel Ami': Period Drama Skips The Small Talk

The once-penniless Georges Duroy (Robert Pattinson) maneuvers his way to the top of Paris society by wooing and bedding the city's best-connected women — among them the influential Madame de Marelle (Christina Ricci.)
Magnolia Pictures

Words, words, words: Novels, especially 19th-century ones, are full of the damned things, which can be an inconvenience for filmmakers doing adaptations.

Directors Declan Donnellan and Nick Ormerod, theater veterans making their cinematic debut with Bel Ami, try to downplay language, which seems a promising idea. But the strategy fails for several reasons, the foremost of which is their leading man.

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Movie Reviews
4:03 pm
Thu May 31, 2012

'Pink Ribbons,' Tied Up With More Than Hope

Participants at the 2010 Avon Walk for Breast Cancer, San Francisco, as seen in Pink Ribbons, Inc.
Ravida Din First Run Features

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.

As one woman observes, describing the treatment of cancer as a "fight" or a "battle" suggests that the disease is always beatable if patients make a heroic effort. The implication is that people who die "weren't trying very hard."

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Movie Reviews
4:03 pm
Thu May 24, 2012

An Unlikely Friendship, Made For The Movies

Paralyzed after a paragliding accident, wealthy daredevil Philippe (Francois Cluzet) hires Driss (Omar Sy), a cocky ex-con, despite the concerns of his aides, including Yvonne (Anne Le Ny).
Weinstein Co.

During The Intouchables' opening sequence, a black driver takes a white passenger on a wild ride through contemporary Paris at speeds that attract the police. When pulled over, the motorist claims he's hurrying to the hospital, and his charge — who turns out to be quadriplegic — pretends to be having a seizure. After the cops depart, the two men share a laugh and a cigarette; then they roar off, blasting 1970s funk.

Driving Miss Daisy this ain't.

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Movie Reviews
4:03 pm
Thu May 24, 2012

'Oslo, August 31st': A Long Day In A Gray Hour

A once-promising writer turned heroin addict, Anders (Anders Danielsen Lie) is released from his rehabilitation center for a day for a job interview in Oslo. Even as he goes out into the world, his melancholy mood continues to plague him.
Strand Releasing

Joachim Trier's first film, Reprise, was a giddy, hyperstylized account of the delights and despairs of Norway's young literary set. His follow-up, Oslo, August 31st, features some of the same themes and one of the previous movie's stars. But the writer-director's mood has downshifted dramatically.

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Movie Reviews
4:03 pm
Thu May 17, 2012

'Polisse': In Paris, A Thin Bleu Line

The documentary-style drama Polisse centers on members of Paris' Child Protection Unit.
IFC Films

As humane as it is disturbing, Polisse rifles the files of Paris' Child Protection Unit in search of successes, failures and all the shades of ambiguity in between. If the movie's jumpy edits and raw emotions jangle the nerves, that's intentional: This documentary-mimicking drama is designed to evoke the experience of working a beat that can never become routine.

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