Emily Yoshida

Emily Yoshida
Tomatometer-approved critic

Movie Reviews Only

Rating T-Meter Title | Year Review
40% The Upside (2019) It's a film that contains complicated, sad, interesting ideas rarely expressed on screen... but whose package is fundamentally unsuited to showcase those ideas, like a sweater with the holes in all the wrong places.‐ New York Magazine/Vulture
Read More | Posted Jan 11, 2019
66% The House with a Clock in Its Walls (2018) I found my attention wandering.‐ New York Magazine/Vulture
Read More | Posted Jan 7, 2019
50% American Hangman (2019) American Hangman is college-level death penalty discourse, appropriately armed with what appears to be a college-level production budget.‐ New York Magazine/Vulture
Read More | Posted Jan 4, 2019
53% Escape Room (2019) Escape Room's PG-13 rating doesn't allow for a lot of blood or gore, but it's not missed, and Robitel finds plenty of other ways to keeps his finger on the tension button throughout the film's 100 minutes.‐ New York Magazine/Vulture
Read More | Posted Jan 3, 2019
92% Stan & Ollie (2018) The toll that show business takes on such relationships and on Laurel and Hardy's relationship with each other is never hit on the head, but feels real nevertheless.‐ New York Magazine/Vulture
Read More | Posted Dec 26, 2018
62% Bird Box (2018) I care as much about the people who ran around in its fiction now as I did before I watched them for two hours, which is to say, not at all.‐ New York Magazine/Vulture
Read More | Posted Dec 21, 2018
99% Shoplifters (Manbiki kazoku) (2018) This kind of subtle richness is not new for Kore-Eda, though it's as satisfying here as it's ever been.‐ New York Magazine/Vulture
Read More | Posted Dec 20, 2018
40% Second Act (2018) It sends so many mixed messages over the course of its 104 minutes that it probably succeeds in its true goal: to give off the general patina of something that could ostensibly be all things to all women.‐ New York Magazine/Vulture
Read More | Posted Dec 20, 2018
31% Welcome to Marwen (2018) Welcome to Marwen is a totally confounding movie.‐ New York Magazine/Vulture
Read More | Posted Dec 19, 2018
26% Mortal Engines (2018) It's well-designed as a means to transport and entertain effectively. It's for you.‐ New York Magazine/Vulture
Read More | Posted Dec 11, 2018
64% Aquaman (2018) Aquaman's as formulaic, excessively thrashy, and mommy-obsessed as any other entry in the DCEU, but its visual imagination is genuinely exciting and transportive, and dare I say, fun.‐ New York Magazine/Vulture
Read More | Posted Dec 11, 2018
66% Tyrel (2018) Silva makes a chamber orchestra of unconscious prejudice and passive-aggression out of his all-bro ensemble, with Mitchell's performance as the violin solo at the center of it that grows from a tentative tremolo to lonesome wail.‐ New York Magazine/Vulture
Read More | Posted Dec 7, 2018
59% Vox Lux (2018) Vox Lux is a failure, but one I can't stop thinking about.‐ New York Magazine/Vulture
Read More | Posted Dec 7, 2018
97% Spider-Man: Into the Spider-Verse (2018) Spider-Man: Into the Spider-Verse feels like the first major animated film in ages to actively try something stylistically new that didn't involve proprietary Scandinavian building blocks.‐ New York Magazine/Vulture
Read More | Posted Dec 7, 2018
62% Mary Queen of Scots (2018) A kind of nothing of a film.‐ New York Magazine/Vulture
Read More | Posted Dec 6, 2018
92% Mirai (2018) Like Hayao Miyazaki, whose mantle Hosoda is often considered to be on an unofficial short list to pick up, Hosoda tells this child's story at a child's eye level, and the diversions feel part and parcel of that point of view.‐ New York Magazine/Vulture
Read More | Posted Nov 30, 2018
16% Robin Hood (2018) Even on a technical level, Robin Hood is impossible to follow anywhere.‐ New York Magazine/Vulture
Read More | Posted Nov 21, 2018
74% The Clovehitch Killer (2018) Skiles's film doesn't care so much if you think you know how it ends, even if you're right. It's all about twisting the knife in the process of confirming those fears.‐ New York Magazine/Vulture
Read More | Posted Nov 16, 2018
94% Jinn (2018) Jinn is a special little film, one that never lets its complicated, contradictory characters become abstractions, but instead revels in all the disparate elements that make them who they are.‐ New York Magazine/Vulture
Read More | Posted Nov 15, 2018
81% Overlord (2018) Overlord's problem is that it doesn't seem terribly interested in showing us who its villains are, and thus significantly mutes the satisfaction of watching them get flamethrowered to death.‐ New York Magazine/Vulture
Read More | Posted Nov 9, 2018
40% The Girl in the Spider's Web (2018) Even a talent like Foy ends up feeling lost and without motivation, which feels especially glaring as the story bears down on its "she'll have to face her past" plot device.‐ New York Magazine/Vulture
Read More | Posted Nov 6, 2018
89% A Private War (2018) Heineman's film is, in many ways, the movie so many people say they want: a portrait of a deeply complex, flawed, but brilliant and forceful woman.‐ New York Magazine/Vulture
Read More | Posted Nov 2, 2018
34% The Nutcracker and the Four Realms (2018) There's nothing grounding enough here; everything - the sets, the costumes, the performances - seems to drift off in a CGI haze.‐ New York Magazine/Vulture
Read More | Posted Oct 31, 2018
100% Shirkers (2018) It sends you wondering at all the wild creativity and genius of young irrepressible women lost to time, held up or buried by the domineering egos of men.‐ New York Magazine/Vulture
Read More | Posted Oct 25, 2018
53% An Evening with Beverly Luff Linn (2018) An empty facsimile of quirk.‐ New York Magazine/Vulture
Read More | Posted Oct 23, 2018
98% Can You Ever Forgive Me? (2018) What is on paper a small-time heist film in the vein of the Coen Brothers or Breaking Bad is ultimately a cover for a more observant and relatable portrait of loneliness.‐ New York Magazine/Vulture
Read More | Posted Oct 18, 2018
61% The Oath (2018) The Oath lands in an unpleasant middle ground that is too close to reality to feel like escapism, and too antic to feel equipped at anything like incisiveness.‐ New York Magazine/Vulture
Read More | Posted Oct 12, 2018
79% 22 July (2018) Greengrass has once again composed a gripping, sometimes unbearably stressful re-creation of horror, so true to life that the "why" of it all is just as inscrutable as life itself.‐ New York Magazine/Vulture
Read More | Posted Oct 9, 2018
97% The Hate U Give (2018) If this is what the next wave of YA adaptation will feel like, we are in a good place.‐ New York Magazine/Vulture
Read More | Posted Oct 5, 2018
82% Her Smell (2018) Some may not have the stomach for it, and yet Moss's oscillating, energy-devouring performance and the real-time composition of Perry's scenes make it almost impossible to look away.‐ New York Magazine/Vulture
Read More | Posted Oct 3, 2018
28% Night School (2018) There's a lot of sophomoric silliness Night School feels obligated to perform. But there's a heap of good intentions behind it, and enough big laughs to make us want to forgive it in the end.‐ New York Magazine/Vulture
Read More | Posted Sep 28, 2018
84% Monsters and Men (2018) Monsters and Men is a rather straightforward ripped-from-the-headlines story. But it's aided by a narrative structure that highlights complexity, rather than tidy symmetry.‐ New York Magazine/Vulture
Read More | Posted Sep 26, 2018
85% The Sisters Brothers (2018) The Sisters Brothers retreats back from some interesting, adventurous territory to something all too familiar.‐ New York Magazine/Vulture
Read More | Posted Sep 20, 2018
60% White Boy Rick (2018) There's something strangely uninvolving about White Boy Rick, despite all its claims to be a sensational true story.‐ New York Magazine/Vulture
Read More | Posted Sep 17, 2018
85% A Simple Favor (2018) A Simple Favor seems to yearn for a bygone era of nail-biter, but rather than wallow in pastiche, it comes up with something truly contemporary feeling.‐ New York Magazine/Vulture
Read More | Posted Sep 14, 2018
72% The Children Act (2018) No one gives better pensive gaze here than Thompson; the drama lies in the fallibility of even the most competent and well-intentioned among us.‐ New York Magazine/Vulture
Read More | Posted Sep 13, 2018
12% Peppermint (2018) There was a time when a woman being the star of her own bad action franchise could have been considered the apex of progress, but that time is past.‐ New York Magazine/Vulture
Read More | Posted Sep 7, 2018
66% Sierra Burgess Is a Loser (2018) From the script to the music to the unfinished-feeling sound edit... nothing about Sierra Burgess feels like it got past a first draft.‐ New York Magazine/Vulture
Read More | Posted Sep 7, 2018
65% Peterloo (2019) Those with the patience and attention span are rewarded; the last 30 minutes is perhaps the most visceral filmmaking Leigh has ever pulled off...‐ New York Magazine/Vulture
Read More | Posted Sep 2, 2018
92% The Ballad of Buster Scruggs (2018) Once it's time to switch tones, the Coens don't seem to have much to say other than pointing to the well-documented fact that the American frontier was a violent place.‐ New York Magazine/Vulture
Read More | Posted Sep 2, 2018
90% A Star Is Born (2018) What keeps the film from feeling like a mere rehash is the gut-level romanticism of it all.‐ New York Magazine/Vulture
Read More | Posted Sep 2, 2018
64% Suspiria (2018) Suspiria is a gorgeous, hideous, uncompromising film, and while it seeks to do many things, settling our minds about the brutality of the past and human nature is not one of them.‐ New York Magazine/Vulture
Read More | Posted Sep 1, 2018
96% Roma (2018) Cuarón never seeks a tidy resolution for their loving, lopsided, complicated relationship. But it's one of the reasons why Roma leaves such a deep and lasting impression.‐ New York Magazine/Vulture
Read More | Posted Aug 30, 2018
48% Destination Wedding (2018) Levin's dialogue is relentless. Every line and retort is a punch line, and every punch line more or less amounts to Lindsey and Frank telling each other how much they stink.‐ New York Magazine/Vulture
Read More | Posted Aug 30, 2018
84% The Wife (2018) By the time the dramatic fireworks start popping off, each one feels earned.‐ New York Magazine/Vulture
Read More | Posted Aug 16, 2018
96% To All the Boys I've Loved Before (2018) I didn't appreciate what a unicorn-like rarity a good, solid boy is in a teen comedy until To All the Boys I've Loved Before.‐ New York Magazine/Vulture
Read More | Posted Aug 15, 2018
62% The Tribes of Palos Verdes (2017) It's a gorgeous-looking, sensitively edited film to be sure, but never finds a dramatic foothold, no matter how many manic arguments and drug overdoses it throws our way.‐ New York Magazine/Vulture
Read More | Posted Aug 13, 2018
45% The Meg (2018) It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters when it could be spending it with, you know, the giant shark.‐ New York Magazine/Vulture
Read More | Posted Aug 9, 2018
91% Crazy Rich Asians (2018) Crazy Rich Asians is, at its heart, a fish-out-of-water story, and it has a lot more going for it than its literal money shots.‐ New York Magazine/Vulture
Read More | Posted Aug 8, 2018
17% The Darkest Minds (2018) There's a lot that's confusing or poorly set up. That's a script problem, but also a lack of emotional direction and momentum.‐ New York Magazine/Vulture
Read More | Posted Aug 6, 2018