Mark Jenkins

Mark Jenkins reviews movies for, 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 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.

Kev, the man at the center of Last Ride, has a very particular skill set: He can lift wallets, steal cars and survive in the Australian bush, sleeping under the stars and dining on fresh wild rabbit. Taking care of his 10-year-old son, however, comes less naturally to him.

Both factions in Oliver Stone's new movie refer to each other, not without reason, as "savages." But this drug-war thriller is not nearly so feral as such previous Stone rampages as U-Turn and Natural Born Killers. Occasionally, it even seems righteous.

Dad just died violently. Mom married the man who might be his killer. And now the dead man's ghost is appearing to his son.

That plot comes from Hamlet, of course, but Slovak director Martin Sulik's Gypsy is not otherwise Shakespearean. There are no soliloquies and little dialogue. The prince is 15 and inarticulate, and his Ophelia is entirely sane. She's about to be exiled from her community for the same reasons that nearly everyone else in this tale is victimized: poverty and prejudice.

Lovely people, beautiful places, a suicide attempt and echoes of a French New Wave classic — these ingredients seem to promise lots of passion in A Burning Hot Summer. But this existential-romantic roundelay barely simmers, and certainly doesn't scorch.

Veteran director Philippe Garrel's latest film opens with apparently parallel events: a woman reclines naked, alone in a room, as a man guns his car, heading straight for a tree.

In documentaries, showing is almost always more effective than telling. But The Invisible War, an expose of sexual assault in the U.S. military, is compelling despite being all talk. Footage of the many crimes recounted in the film is, of course, nonexistent — and would be nearly unwatchable if available.

So director Kirby Dick addresses the subject directly, without gimmicks or gambits. Stylistically, The Invisible War is conventional and plainspoken, from its opening clips of vintage recruitment ads for women to its closing updates on the central characters.

In his debut feature, Americano, writer-director Mathieu Demy casts himself as Martin, a brooding French real estate agent who travels to Los Angeles after his long-estranged mother dies. He plans to sell her apartment quickly — until he finds a letter in which she promises to leave the place to a friend, Lola. Martin can't locate the woman, but hears she may be in Tijuana.

Words, words, words: Novels, especially 19th-century ones, are full of the damned things, which can be an inconvenience for filmmakers doing adaptations.

Directors Declan Donnellan and Nick Ormerod, theater veterans making their cinematic debut with Bel Ami, try to downplay language, which seems a promising idea. But the strategy fails for several reasons, the foremost of which is their leading man.

The way the Andes divide Patagonia, Argentina gets most of the land and Chile most of the water. As shown in Patagonia Rising, a new documentary, the landscape on Chile's side of the border is similar to coastal British Columbia or the Alaska panhandle: chilly, forested, mountainous and very wet.

Provocative yet far from definitive, Pink Ribbons, Inc. is a critique of "breast-cancer culture." It could even be called a blitz on pink-ribbon charities and their corporate partners — though to use that term would be to emulate the war and sports metaphors the documentary rejects.

As one woman observes, describing the treatment of cancer as a "fight" or a "battle" suggests that the disease is always beatable if patients make a heroic effort. The implication is that people who die "weren't trying very hard."

Joachim Trier's first film, Reprise, was a giddy, hyperstylized account of the delights and despairs of Norway's young literary set. His follow-up, Oslo, August 31st, features some of the same themes and one of the previous movie's stars. But the writer-director's mood has downshifted dramatically.

During The Intouchables' opening sequence, a black driver takes a white passenger on a wild ride through contemporary Paris at speeds that attract the police. When pulled over, the motorist claims he's hurrying to the hospital, and his charge — who turns out to be quadriplegic — pretends to be having a seizure. After the cops depart, the two men share a laugh and a cigarette; then they roar off, blasting 1970s funk.

Driving Miss Daisy this ain't.

As humane as it is disturbing, Polisse rifles the files of Paris' Child Protection Unit in search of successes, failures and all the shades of ambiguity in between. If the movie's jumpy edits and raw emotions jangle the nerves, that's intentional: This documentary-mimicking drama is designed to evoke the experience of working a beat that can never become routine.

Playing a Marilyn Monroe avatar in Nobody Else But You, Sophie Quinton endows her impersonation with less vitality than Michelle Williams in My Week With Marilyn. But that's appropriate: Quinton's character is already dead when this smart if outlandish movie opens.

Women's hard-won pragmatism contends with men's impulsive belligerence in Where Do We Go Now?, the second feature directed by Lebanese actress Nadine Labaki. It's the sort of well-meaning fable that's ultimately more admirable than persuasive.

Filmed in three small Lebanese villages, the movie never locates itself in a particular country. But, as in last year's similarly cautious Incendies, the place must be Lebanon; there are few places in the Middle East where Christians and Muslims mingle the way they do in this story.

Eco-aware filmgoers won't learn much from Last Call at the Oasis, which follows the paths of such well-known water activists as Erin Brockovich. But writer-director Jessica Yu's documentary may be slick enough to reach people who aren't already familiar with such substances as "new water," atrazine and hexavalent chromium.

In Elles, a Paris journalist has an eye-opening experience when she interviews two university students who moonlight as prostitutes. So do the movie's viewers, presented with beaucoup de nudite. No genitalia are on display, but there are a few kinky moments that justify the NC-17 rating.

"Crime doesn't pay" is one of the hopeful cliches Margaret Atwood invokes in her essay collection Payback: Debt and the Shadow Side of Wealth.

Of course it does, filmmaker Jennifer Baichwal shows in Payback, a documentary that riffs on Atwood's themes. But crime doesn't always pay, and perhaps it will pay less well in the future. At least that's the suggestion made by the on-screen commentators who expand on Atwood's original theme.

The world's oldest profession is one of cinema's oldest subjects, sometimes employed for pathos or political metaphor, but often glamorized. Austrian documentarian Michael Glawogger's Whores' Glory is no Pretty Woman. But neither does it qualify as an expose.

The movie, which shifts from Thailand to Bangladesh to Mexico, aspires to a cinema-verite style. Yet it's unusually well-lighted and -composed for on-the-fly footage, and includes scenes that appear to be staged.

It's a classic scenario in sentimental fiction: An adorable orphan humanizes a crusty old codger. "Humanize" might not seem the obvious verb for what happens in Chimpanzee, Disneynature's latest kiddie documentary. But it's dead on; this escape to the planet of the apes is anthropomorphic to a fault.

Not every human advance is a snare, according to Ronald Wright, author of A Short History of Progress. But some new techniques can lead to something the Canadian author calls a "progress trap" — a development that's ultimately more harmful than helpful.

"God sees abilities in me I don't have," laments the protagonist of Italian writer-director Nanni Moretti's new movie. Such self-doubt is hardly novel, but Melville (Michel Piccoli) has a special stake in God's opinion of him — he's just been elected pope.

Some people are just meant to be together — even after they're dead. That's the premise of writer-director Benedek Fliegauf's Womb, a movie whose slender narrative is little more than that premise, yet whose themes prove bigger than the story.

Love between the living and the undead is all the rage in Hollywood movies, but Womb is no Twilight. Shot in Germany by a Hungarian with an English-speaking cast, the movie is more akin to 2004's Birth.