Emily Yoshida Movie Reviews & Previews - Rotten Tomatoes

Emily Yoshida

Emily Yoshida
Tomatometer-approved critic

Movie Reviews Only

Rating T-Meter Title | Year Review
57% Unfriended: Dark Web (2018) Whereas the first film was a surprisingly effective formal exercise, Dark Web marries that form to an extremely real feeling of hopelessness that characterizes a not-small amount of our time spent online.‐ New York Magazine/Vulture
Read More | Posted Jul 20, 2018
49% Equalizer 2 (2018) With the secret behind his formidable skills out of the bag, all we have is a good guy who is good at things, and a sense of obligation to conjure up a convoluted syndicate of straw men for him to chop down.‐ New York Magazine/Vulture
Read More | Posted Jul 19, 2018
78% Mamma Mia! Here We Go Again (2018) As a young flower child traipsing and/or sleeping her way around Europe, Donna is the ultimate carefree white girl(TM) on paper, but James makes that label enviable in the exact way it's supposed to be.‐ New York Magazine/Vulture
Read More | Posted Jul 17, 2018
59% Hotel Transylvania 3: Summer Vacation (2018) The kids could do a lot worse.‐ New York Magazine/Vulture
Read More | Posted Jul 13, 2018
34% Shock and Awe (2018) The problem isn't Reiner taking dramatic liberties with the facts, it's that his toolbox for doing so hasn't changed since the mid-'90s.‐ New York Magazine/Vulture
Read More | Posted Jul 12, 2018
64% Sicario: Day of the Soldado (2018) When Day of the Soldado truly wallows in violence, it does so exquisitely, with the kind of hopelessness that film violence, especially around this subject matter, should convey.‐ New York Magazine/Vulture
Read More | Posted Jun 25, 2018
89% The Gospel According to André (2018) It's hard to watch Gospel and not feel as though there's a lot that's not being talked about.‐ New York Magazine/Vulture
Read More | Posted Jun 20, 2018
55% Tag (2018) I suspect this might be one of the times when life surpasses art.‐ New York Magazine/Vulture
Read More | Posted Jun 14, 2018
59% Hotel Artemis (2018) Hotel Artemis, despite a kind of shrug of a plot, has character - and characters - to spare, and though much of it is an affectation, it's too fun write it all off as "steampunk."‐ New York Magazine/Vulture
Read More | Posted Jun 12, 2018
86% Alex Strangelove (2018) It can't help but hit a lot of familiar beats. But its script feels personal, and less airbrushed than most in its recollection of the utter uncoolness of being a teenager.‐ New York Magazine/Vulture
Read More | Posted Jun 7, 2018
67% Ocean's 8 (2018) I left Ocean's 8 more convinced than ever that no amount of fierce, fantastic female ensembles can overcome the mediocrity of a dull male director.‐ New York Magazine/Vulture
Read More | Posted Jun 5, 2018
72% Adrift (2018) Adrift is enough of a boilerplate piece of survival drama that you know to expect those beats more or less coming on schedule, but Woodley makes it more emotionally satisfying than it would be otherwise.‐ New York Magazine/Vulture
Read More | Posted Jun 1, 2018
85% Upgrade (2018) A great and grimy little screw-turner of sci-fi schlock, the kind that they truly don't make anymore, the kind that would make Carpenter and Cameron proud.‐ New York Magazine/Vulture
Read More | Posted May 31, 2018
52% A Kid Like Jake (2018) This is not a film about falling apart, but all the conversations and compromises that hold things together.‐ New York Magazine/Vulture
Read More | Posted May 31, 2018
70% Ibiza (2018) I'm not even fully confident in calling it a movie.‐ New York Magazine/Vulture
Read More | Posted May 24, 2018
57% The Man Who Killed Don Quixote (2018) There's enough of a germ of something in Don Quixote that you find yourself shaking your head by its climax, wondering, wait, what were we talking about again?‐ New York Magazine/Vulture
Read More | Posted May 21, 2018
88% Whitney (2018) Two biographical documentaries in, and it still feels like we're in need of a Houston film that digs into her music first, and the hows and whys of its enduring power.‐ New York Magazine/Vulture
Read More | Posted May 19, 2018
73% Capernaum (Capharnaüm) (2018) It's a deeply assured piece of direction, and though it only plays a few emotional notes, they are ones that won't soon leave your memory.‐ New York Magazine/Vulture
Read More | Posted May 18, 2018
69% On Chesil Beach (2018) A potentially promising story of an emotional and physical impasse is flattened so much as to be offensive.‐ New York Magazine/Vulture
Read More | Posted May 18, 2018
53% Book Club (2018) There's a maturity and warmth to director Bill Holderman and Erin Simms's script, which respects these ladies and understands that they've got a wealth of life experience that doesn't exactly fit into one rom-com.‐ New York Magazine/Vulture
Read More | Posted May 17, 2018
61% Under the Silver Lake (2018) Pretty soon the commentary on how Hollywood uses women as decoration outweighs the fact that Mitchell's just repeating the cycle - albeit with better-than-average outfits.‐ New York Magazine/Vulture
Read More | Posted May 16, 2018
96% BlacKkKlansman (2018) Lee never takes his eye off the connecting thread between the events of 1978 and the present. The result is one of his most flat-out entertaining films in years, and also one of his most uncompromising.‐ New York Magazine/Vulture
Read More | Posted May 14, 2018
100% Ash Is Purest White (2018) By the end, the transformation of China is more compelling than Qiao's love for Bin, but watching both unfold over time is continually thought-provoking, given the ephemerality of whole cities, much less love affairs.‐ New York Magazine/Vulture
Read More | Posted May 12, 2018
100% Cold War (Zimna wojna) (2018) It's visually stunning, passionate, wistful, and thoughtful in equal measure.‐ New York Magazine/Vulture
Read More | Posted May 11, 2018
48% Everybody Knows (Todos lo saben) (2018) The mystery becomes popcorn-chompingly compelling, each new piece of information adding shading and dimension to the true shape of the family. Nobody is above suspicion or below empathy.‐ New York Magazine/Vulture
Read More | Posted May 9, 2018
100% McQueen (2018) Bonhôte and Ettedgui are blessed with intimate, candid interviews with many of the people who worked closest with McQueen, as well as archival interviews with his late muse and booster Isabella Blow and his beloved mother Joyce.‐ New York Magazine/Vulture
Read More | Posted May 8, 2018
76% Lu Over the Wall (Yoake tsugeru Rû no uta) (2018) Throughout the film, Yuasa's eye for vivid colors and slapsticky antics lead the way.‐ New York Magazine/Vulture
Read More | Posted May 8, 2018
26% Overboard (2018) Overboard is a decent-to-great model for a rom-com renaissance, the kind of film that sends one out on a high note great enough to blur many of the blemishes that have come before.‐ New York Magazine/Vulture
Read More | Posted May 3, 2018
70% Most Likely to Murder (2018) Everyone feels left on autopilot, including Kartheiser, who seems to be playing a different flavor of borderline-unbelievable creepy in each scene.‐ New York Magazine/Vulture
Read More | Posted May 1, 2018
85% Let the Sunshine In (Un beau soleil intérieur) (2018) Let the Sunshine In feels cream-puff light, but is deceptively rigorous, and about so much more than one woman's quest to find the One.‐ New York Magazine/Vulture
Read More | Posted Apr 27, 2018
55% Duck Butter (2018) The holistic, engrossing, often icky sense of intimacy that the name suggests is very appropriate for this head-spinning film, a romantic endurance test that's rewarding and suffocating in equal measure.‐ New York Magazine/Vulture
Read More | Posted Apr 26, 2018
39% Mary Shelley (2018) It boggles the mind that anyone would try to make something mannered from her wild, sad, huge life...a dismal book report that the author herself would have declared fusty.‐ New York Magazine/Vulture
Read More | Posted Apr 20, 2018
95% Ryuichi Sakamoto: Coda (2018) With a light touch but deep reserves of respect for fans both old and new Ryuichi Sakamoto: Coda is an extremely fitting portrait of the influential composer.‐ New York Magazine/Vulture
Read More | Posted Apr 19, 2018
33% I Feel Pretty (2018) When it's good...and when Schumer's fully locked into her take-no-prisoners charm assault, it's pretty undeniably delightful stuff.‐ New York Magazine/Vulture
Read More | Posted Apr 19, 2018
52% Rampage (2018) I'm not terribly convinced that the overtly campy version of this film would be any better, but I'm very certain that this one is bad.‐ New York Magazine/Vulture
Read More | Posted Apr 11, 2018
92% Lean on Pete (2018) Charlie Plummer, last seen as the kidnappee in All the Money in the World, has a naïf-ish quality and a perilously open face.‐ New York Magazine/Vulture
Read More | Posted Apr 5, 2018
80% Chappaquiddick (2018) Rather than simply point out that the famous man did a bad thing, Clarke's Kennedy is something more elemental, a snapshot of a failure of all the things masculinity was and to some degree is still billed as.‐ New York Magazine/Vulture
Read More | Posted Apr 4, 2018
95% Outside In (2018) This is an conversation- and character-driven film with an occasional eye for something more ineffable, but Falco and Duplass's complicated, nakedly searching performances are the main event.‐ New York Magazine/Vulture
Read More | Posted Apr 2, 2018
77% Gemini (2018) There's a ghostly aura over Katz's L.A., even in broad daylight; the city feels thick with the possibility of double lives.‐ New York Magazine/Vulture
Read More | Posted Mar 30, 2018
79% I Kill Giants (2018) I Kill Giants feels secret and dangerous, like a VHS tape dug out of a dusty crate at a yard sale; it's the kind of movie you ended up watching every week as a kid just because of how weird it made you feel. ‐ New York Magazine/Vulture
Read More | Posted Mar 23, 2018
43% Pacific Rim Uprising (2018) It's pretty good at shuttling us from one set piece to the next. And when those set pieces are good - as is the case with an early Jaeger fight in Siberia, or the gee-whiz silliness of the climactic battle in Tokyo - it's easy enough to overlook.‐ New York Magazine/Vulture
Read More | Posted Mar 21, 2018
91% Love, Simon (2018) It's too sanded down to ever truly snag on something like a real, specific, visceral emotion, but it's got the pop-chorus bombast that will get you to some kind of objective sense of fireworks, one way or another.‐ New York Magazine/Vulture
Read More | Posted Mar 20, 2018
50% Flower (2018) In an age when so many teen movies are grasping so desperately for message-y topicality, it does the impossible, and manages to be about nothing at all.‐ New York Magazine/Vulture
Read More | Posted Mar 14, 2018
40% Gringo (2018) It's a surprising high point in Oyelowo's already distinguished career, and a not-at-all shabby directorial debut for Edgerton.‐ New York Magazine/Vulture
Read More | Posted Mar 8, 2018
86% Thoroughbreds (2018) The problem with Thoroughbreds is that a feature-length dialogue between two sociopaths does not make for very compelling drama, or comedy, for that matter.‐ New York Magazine/Vulture
Read More | Posted Mar 7, 2018
83% Game Night (2018) It won't fix the studio comedy, but it's a welcome, watchable outlier for now.‐ New York Magazine/Vulture
Read More | Posted Feb 22, 2018
87% Annihilation (2018) Garland is telling the story through visuals, and through a cell biology thread most producers would not have faith in an audience to follow.‐ New York Magazine/Vulture
Read More | Posted Feb 21, 2018
95% Western (2018) A culture clash defined by an incredibly strong first-time performance, it's continually more emotionally surprising than its dry packaging lets on.‐ New York Magazine/Vulture
Read More | Posted Feb 20, 2018
33% Irreplaceable You (2018) A half-baked tragic love story so desperately engineered to tear-jerk that it ceases to resemble anything human.‐ New York Magazine/Vulture
Read More | Posted Feb 15, 2018
13% Fifty Shades Freed (2018) As the trilogy goes out, more desperate than ever to convince us it was in on the joke all along, it's hard to say exactly what the joke was.‐ New York Magazine/Vulture
Read More | Posted Feb 8, 2018