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.

Yves Saint Laurent collides with Cormac McCarthy in Nocturnal Animals , a domestic melodrama/thriller that proceeds along two parallel tracks to a dead end. The second feature by fashionista-filmmaker Tom Ford boasts some gripping scenes and a few stabs at satire, but ultimately offers little beyond its assured sense of style. Ford — who wrote, produced, and directed — began with Austin Wright's Tony and Susan , a novel in which one of the characters is a novelist. Yet the...

It might seem that Dan Brown takes his art-history/conspiracy thrillers very seriously. Yet there's one clue, hidden in plain sight, that he doesn't: He keeps letting director Ron Howard turn them into silly movies. Maybe it's Howard or producer Brian Grazer who's nervous about the moderately subversive elements in Brown's cleverly plotted, clunkily written novels. Or perhaps it's star Tom Hanks, the usually gung-ho actor who plays Brown's hero, Harvard professor Robert Langdon, with an...

After decades in which diversity of roles — and accents — seemed to guide her career, Meryl Streep has come to specialize in silver-haired divas. Since 2005, she's played a cookbook maven, a fashion magazine editor, and a British prime minister. Now, in Florence Foster Jenkins , she plays a real-life diva, albeit one who couldn't sing.

That doesn't seem to have fazed Jenkins and, of course, it doesn't fluster Streep. Coq au vin , Paris fashion week, the...

The financial legerdemain lampooned in The Big Short was designed to be opaque and arcane — so much so that even the supposed experts didn't really know what they were doing. The scenario of Money Monster is much simpler, which is both a strength and a weakness. The movie is easier to understand, but that's because, as with so many Hollywood conspiracy thrillers, the big payoff is actually pretty small. The film's villains are not real investment banks but the fictional...

Here's a recipe for the ideal man: Take the speed and ruthlessness of a brain-damaged sociopath and combine them with the smarts and tenderness of a CIA agent who's also a husband and father. Yet for some reason, the new movie about this champion is titled not The Perfect Guy , but Criminal . That apparently refers to Jerico (Kevin Costner), who lacks all decency and empathy because he was abused as a child by his father. (So he's a monster, but a victim, too.) Since he has ...

Pages