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 January 17, 2013

'Hors Satan': A Singularly Devilish Vision

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In Bruno Dumont's Hors Satan, the unnamed Guy (David Dewaele) turns to nature for solace and spiritual comfort.
New Yorker Films

Bruno Dumont just wasn't made for these cinematic times. Rather than cajole and flatter his viewers, the French filmmaker intentionally alienates and mystifies them. Like his five previous movies, the new Hors Satan is stark, strange and uncompromisingly personal. It's also vivid and unforgettable.

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Movie Reviews
4:03 pm
Thu January 10, 2013

Old-Fashioned Crime, Newfangled Camp In 'Baytown'

As leader of the murderous Oodie brothers, Brick (Clayne Crawford) takes care to target only the worst criminals in the Deep South.
Phase 4 Films

During The Baytown Outlaws prologue — a bloody massacre scene that doubles as a credit sequence — director Barry Battles interrupts the carnage with comic-book-style panels. It's a gambit he uses again later, and an appropriate one. This Deep South odyssey is a pulp fantasy and knows it.

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Movie Reviews
4:03 pm
Thu January 3, 2013

Checking In Again With The '7 Up' Kids

Peter Davies, age 56, and his Good Intentions bandmates Gabi (left) and Francesco Roskel appear in the latest installment of the Up documentary series, inspired by the Jesuit saying, "Give me the child until he is 7 and I will show you the man."
Harriet Gill First Run Features

The participants in 56 Up, the eighth installment in a series that began in 1964, want to talk mostly about two things: family and the documentary itself.

The project, which checks in periodically with 14 kids who were once deemed representative British 7-year-olds, is "a complete fraud," says John, and based on assumptions that "were outmoded even in 1964."

And yet here they are again: the working class and the posh, the aimless and the motivated, the emigrants and the stay-at-homes, most of them now grandparents.

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Movie Reviews
4:03 pm
Thu December 20, 2012

Sparks Of '60s Spirit, And Then A Slow 'Fade'

Wells (Will Brill, from left), Joe (Brahm Vaccarella), Douglas (John Magaro) and Eugene (Jack Huston) try to make it big as a rock band in the 1960s.
Barry Wetcher Paramount Pictures

Basically, Not Fade Away is the saga of a 1960s teenager who plans to become a rock star, but slowly realizes he won't. The movie is set mostly in the New York suburbs. So why does it open in South London, where two lads — you may know them as Mick and Keith — bond over imported blues LPs?

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Movies
4:03 pm
Thu December 13, 2012

A Queens Chronicle That's A Little Too Lifelike

Without a supportive family, a rebellious teenager (Zoe Kravitz) must take care of herself in a troubled neighborhood.
MPI Media

The O'Haras don't talk much about what's wrong, but the members of this biracial Queens family — the central characters of Yelling to the Sky -- are bedeviled by alcoholism (dad), mental illness (mom) and adolescent defiance (the two daughters). Indeed actress-turned-director Victoria Mahoney barely explains her characters' circumstances, which makes the movie obliquely intriguing. But whenever the story comes into focus, it's revealed as fairly conventional.

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