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.

Set amid Sicily's stark volcanic landscape, L'Attesa (The Wait) is a visually powerful, impeccably acted mood piece. But the movie is not for the literal-minded — a group that, at times, includes director and co-writer Piero Messina.

By 1970, some people worried that the United States had gone seriously off track. Two great American leaders were sure of it, and so a summit was arranged. Problem is, Elvis Presley and Richard Nixon didn't really agree on what needed to be done — or even what the problem was.

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.

Near the end of Louder than Bombs, Norwegian writer-director Joachim Trier's first English-language film, a narrator arrives to inform us that one of the characters will remember that particular moment years later. The intrusion is unexpected, but perhaps less so for people who've seen Trier's 2006 debut, Reprise. That playfully serious movie was about the making of a writer's consciousness, so its literary flourishes were apt.

"Who needs France without the Louvre? Or Russia without the Hermitage?"

These questions, addressed to Francofonia's audience by director and narrator Alexander Sokurov, may recall Russian Ark, the Siberia-born filmmaker's best-known (and arguably best) movie. But while his new film is nominally about the Paris museum, it's less focused than Russian Ark. That 2002 cinematic pageant presented Russian history in a single, unedited 87-minute take that danced through the St. Petersburg landmark.

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