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 November 28, 2013

A Gospel Story, Reframed (Again) In 'Black Nativity'

Jacob Latimore (from left), Angela Bassett, Jennifer Hudson and Forest Whitaker power through the season in Kasi Lemmons' Black Nativity, a Christmas movie musical based on Langston Hughes' gospel oratorio.
Phil Bray Fox Searchlight Pictures

Originally published on Fri November 29, 2013 7:55 pm

Like Eve's Bayou, her best-known movie, Kasi Lemmons' Black Nativity presents a child's view of a troubled family. The latter film is sweeter and slenderer, but that's only to be expected: Black Nativity is a musical, after all, as well as a credible attempt at an African-American holiday perennial.

The original Black Nativity is a gospel-music oratorio, conceived by poet Langston Hughes and first performed in 1961. It pairs the Christian Nativity story with traditional spirituals and African drumming.

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Movie Reviews
4:03 pm
Thu November 21, 2013

A Foray Into The Blood-Soaked 'Cultura' Of Mexico's Cartels

In Narco Cultura, director and photojournalist Shaul Schwarz interrogates the collision of pop culture and Mexico's drug cartels — as personified by bands like Los Bukanas de Culiacan (above), who perform narcocorridos, or songs glorifying the drug trade.
Shaul Schwarz Cinedigm

Originally published on Fri November 22, 2013 2:03 pm

Following police through Mexico's Ciudad Juárez — reputedly the world's homicide capital — the Israeli filmmaker Shaul Schwarz finds mutilated corpses and gutters running with blood. But the resulting documentary, Narco Cultura, is not nearly so vivid as its most gruesome footage.

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Movie Reviews
4:02 pm
Thu November 14, 2013

Alexander Sokurov, Seeking New Shadows In A Dark Classic

The man who makes the deal with the devil, played by Johannes Zeiler, is back onscreen in a new interpretation of the Faust story from director Alexander Sokurov.
Leisure Time Features

Siberia-born director Alexander Sokurov is best known in the West for 2002's Russian Ark, a cinematic waltz through the Hermitage Museum that also functions as a primer on Russian history. The filmmaker is an idiosyncratic historian, though, as he demonstrates yet again with a version of Faust that completes his "tetralogy of power."

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Movie Reviews
4:03 pm
Thu November 7, 2013

The End Of The World, As She Knows It

Daisy (Saoirse Ronan) is just a typical teen struggling with boys, family and growing up — and also what might be the apocalypse.
Nicola Dove Magnolia Pictures

Because it serves up Armageddon with a side order of teen romance, How I Live Now is not always credible. But as a portrait of a surly 16-year-old whose internal crisis is overtaken by an external one, the movie is persuasive.

For that, credit goes partly to director Kevin Macdonald, but mostly to his star, Saoirse Ronan. Playing a neurotic urbanite who learns to survive in a war-ravaged landscape, the actress is, appropriately enough, a force of nature.

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Movie Reviews
4:03 pm
Thu October 31, 2013

'Tai Chi' Master: Keanu Reeves Takes The Director's Chair

Making his directorial debut with Man of Tai Chi, Keanu Reeves also appears as the film's rich, ruthless villain.
RADiUS-TWC

Keanu Reeves' directorial debut, Man of Tai Chi, is basically the anti-Kill Bill. Both movies are quilted together from their auteurs' favorite Asian action flicks, but where Tarantino's was overheated, Reeves' is elegantly iced. It's martial-arts mayhem with a touch of zen.

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