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.

Movie Reviews
5:03 pm
Thu March 20, 2014

It's Faction Against Faction In A Grim Future Chicago

Tris (Shailene Woodley) and Four (Theo James) train hard as part of the warrior faction Dauntless in Divergent, based on the novel by Veronica Roth.
Jaap Buitendijk Summit Entertainment

The latest teen-girl fiction series to become a movie franchise, Divergent delivers adolescent viewers some bad news and some good news. The bad is that the dystopian future will be just like high school, with kids divided into rigid cliques. The good is that adulthood will be just like high school, so teens face no major surprises.

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Movie Reviews
5:03 pm
Thu February 27, 2014

In 'Stalingrad,' Where The Fog Of War Is Plenty Thick

Teenage civilian Katya (Mariya Smolnikova) shares a ruined apartment with a gang of Soviet soldiers during the battle of Stalingrad in Fedor Bondarchuk's Stalingrad.
Sony Pictures

If you're only going to see one film about the Battle of Stalingrad — and there are many — Stalingrad would be the wrong choice. Russian director Fedor Bondarchuk's treatment of the World War II turning point is shallow and contrived, if sometimes impressively staged. The movie wins points, however, for sheer wackiness.

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