Mark Jenkins
Mark Jenkins reviews movies for NPR.org, as well as for , 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 -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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Betsy Brandt plays a woman whose husband goes missing in this underwritten, willfully ambiguous film from writer-directors Lisa Robinson and Annie J. Howell.
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This bifurcated film cross-cuts between the sterile existence of a coolly patrician L.A. gallery owner and the action of her ex-husband's raw-boned novel.
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After three adaptations, including The Da Vinci Code and Angels & Demons, the lively heresies of Dan Brown's bestselling thrillers have sunk into timid incoherence.
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Meryl Streep stars in a new biopic about a much-mocked (but well-financed) amateur opera singer whose love of music sustains her — and the film.
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George Clooney and Julia Roberts star in a tale directed by Jodie Foster in which a cable TV host finds himself held hostage.
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Criminalis the second film in a year that separates mind from body when it comes to poor, gorgeous Ryan Reynolds. In this case, his mind goes in Kevin Costner.
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David O. Russell re-teams with Jennifer Lawrence and Bradley Cooper in a film based on the story of a real-life inventor. Unfortunately, the story is neither believable nor particularly interesting.
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The director's frequent collaborator, Tom Hanks, plays an American lawyer enlisted to carry out a complicated swap of one captured man for another.
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Zac Efron is little more than a good-looking void in this story of dance music in the San Fernando Valley, but the film is intermittently engaging as a medley of themes and genres.
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Self/lessis a dull rumination on familiar themes about body-swapping and life-swapping, exploring none of the actually provocative questions it raises.