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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.

Blood-spattered thriller The Wailing is, in part, a two-and-half-hour sit-down at Korea's spiritual smorgasbord. The exuberantly desolate movie opens with a verse from the Gospel of Luke, and the characters include a traditional shaman, a Christian deacon, and a mysterious Japanese newcomer who's reputed to be either a Buddhist monk or a demonic ghost.

Writer-director Hany Abu-Assad doesn't tell simple stories, even when he does. His latest, The Idol, is about a man who wins a talent contest, a narrative that's elementary enough for "reality" TV. But the singer is a Palestinian from the blockaded Gaza Strip, and his success is a triumph over his own culture as much as anything else.

There's a moment in Weiner, the documentary about the disgraced ex-congressman's disastrous run for mayor of New York, in which viewers may actually feel for the guy. Anthony Weiner is in a Jewish bakery when he is challenged by a yarmulke-wearing customer. The candidate reacts with a raw fury that's as politically self-destructive as his scandalous cellphone self-portraits.

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.

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.

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