Emily Yoshida Movie Reviews & Previews - Rotten Tomatoes

Emily Yoshida

Emily Yoshida
Emily Yoshida's reviews (from any publication) always count toward the Tomatometer because this critic is a Tomatometer-approved critic.

Movie Reviews Only

Rating T-Meter Title | Year Review
15% Transformers: The Last Knight (2017) I can barely summon a feeling about The Last Knight; if anything, I feel slightly worried about how little I hated it.‐ New York Magazine/Vulture
Read More | Posted Jun 23, 2017
97% The Big Sick (2017) The Big Sick becomes a story rarely explored or romanticized on film, about what it's like to bond with the parents of the person you're in love with.‐ New York Magazine/Vulture
Read More | Posted Jun 21, 2017
22% All Eyez on Me (2017) All Eyez on Me is rarely more than a faithful adaptation of the rapper's Wikipedia entry, so fixated on name-checking every footnote of Shakur's public life that there is no space to explore the experience of the man himself.‐ New York Magazine/Vulture
Read More | Posted Jun 16, 2017
22% The Book of Henry (2017) It does not suffice to call The Book of Henry bad; it's nonfunctional, so poorly conceived from the ground up as to slip out of the grasp of the usual standards one applies to narrative film.‐ New York Magazine/Vulture
Read More | Posted Jun 15, 2017
48% Rough Night (2017) The set pieces feel increasingly obligatory, tenuously stitched into the larger plot with thinner and thinner thread.‐ New York Magazine/Vulture
Read More | Posted Jun 14, 2017
43% The Girl on the Train (2016) This iteration is barely more thoughtful than your standard rape-revenge grindhouse fare, and by the end the audience at my screening was cackling like a midnight movie crowd.‐ Spin
Read More | Posted Jun 13, 2017
90% Elle (2016) As Michele, Huppert contains literal volumes.‐ Spin
Read More | Posted Jun 13, 2017
90% Doctor Strange (2016) The film is bloated and unfunny... and is plagued by a boringly retrograde notion of pan-Asian-ness while conveniently escaping the burden of casting any actual Asians in its principal roles.‐ Spin
Read More | Posted Jun 13, 2017
93% Arrival (2016) As I've said, I've seen Arrival three times-for critical and then therapeutic reasons-and it takes to the light differently with each revisit, much like the edgeless ships hovering over the earth's surface.‐ Spin
Read More | Posted Jun 13, 2017
77% Beatriz at Dinner (2017) This is a more anguished film than anything White has written recently, not least because current events can't help but invade its already full emotional plate.‐ New York Magazine/Vulture
Read More | Posted Jun 8, 2017
92% The Rider (2017) In telling the story of a disappearing slice of America, Zhao has created a portrait of resilience, and the bonds that last even after the rodeo's over.‐ New York Magazine/Vulture
Read More | Posted May 29, 2017
79% You Were Never Really Here (2017) You Were Never Really Here is a powerful assault of a film, but it's missing its director's inimitable poetry.‐ New York Magazine/Vulture
Read More | Posted May 27, 2017
94% Good Time (2017) Good Time is a film about a destructive love - and loving someone despite not having the right kind of love to give them. Ignore the deceptively convivial title: This is the kind of thrill that sticks.‐ New York Magazine/Vulture
Read More | Posted May 25, 2017
69% Happy End (2017) Haneke's integration of the ways we communicate and conduct our lives via phone and laptop feels uniquely effective.‐ New York Magazine/Vulture
Read More | Posted May 24, 2017
74% The Beguiled (2017) I spent a chunk of the film wondering what here excited Coppola - what was it about the novel that she couldn't wait to bring to the screen?‐ New York Magazine/Vulture
Read More | Posted May 24, 2017
28% How to Talk to Girls at Parties (2016) The film looks dreadful, and the CG effects are a legitimate eyesore: An opening animated sequence is so tacky, it took me a while before I realized it wasn't just another logo animation for a random film fund.‐ New York Magazine/Vulture
Read More | Posted May 23, 2017
100% The Florida Project (2017) [A] brilliant, buoyant, and ultimately heart-wrenching film.‐ New York Magazine/Vulture
Read More | Posted May 23, 2017
73% The Killing of a Sacred Deer (2017) To see an unfettered nightmare like this from such an idiosyncratic director feels like a cruel treat, and a welcome stylistic stretch.‐ New York Magazine/Vulture
Read More | Posted May 22, 2017
70% The Square (2017) Most of the film's best scenes could function as their own short film; string enough of them together and they all shed different light on a central theme, though never quite fully articulating it.‐ New York Magazine/Vulture
Read More | Posted May 22, 2017
88% The Meyerowitz Stories (New and Selected) (2017) Baumbach is an altogether more generous and insightful filmmaker here than he was the last time he told this story.‐ New York Magazine/Vulture
Read More | Posted May 22, 2017
84% Okja (2017) A madcap fable as purposeful as it is unpredictable, that bears no whiff of a committee, for (mostly) better or (occasionally) worse.‐ New York Magazine/Vulture
Read More | Posted May 19, 2017
89% Loveless (Nelyubov) (2017) Loveless gives us a multicourse meal of social ills, too dispersed to feel like a thesis, yet too chilly to feel like a raw, unbridled tantrum.‐ New York Magazine/Vulture
Read More | Posted May 18, 2017
71% Wonderstruck (2017) For the first time in memory, Haynes is working with a story whose plot outweighs its concept, as lovely as that concept often is.‐ New York Magazine/Vulture
Read More | Posted May 18, 2017
28% King Arthur: Legend Of The Sword (2017) The film's biggest problem is Ritchie's twitchy edit finger, the perpetual enemy of silence and stillness.‐ New York Magazine/Vulture
Read More | Posted May 10, 2017
30% 3 Generations (2017) In the end, 3 Generations wants to to be about trans issues more than it really wants to live in them.‐ New York Magazine/Vulture
Read More | Posted May 5, 2017
72% Sleight (2017) The film lives and dies by Latimore's performance, which is quiet and ever-shifting.‐ New York Magazine/Vulture
Read More | Posted Apr 28, 2017
66% The Fate of the Furious (2017) The action has become incoherent, largely past the point of enjoyability.‐ New York Magazine/Vulture
Read More | Posted Apr 12, 2017
97% Graduation (Bacalaureat) (2017) Mungiu is almost sadistically patient in letting this play out; by the last 40 or so minutes you can more or less see where it's all headed, even if it's through your fingers.‐ New York Magazine/Vulture
Read More | Posted Apr 11, 2017
70% Gifted (2017) Unfortunately, Gifted's cutesy classroom scenes are not quite up to the task of digging into how Mary fits in with her classmates, and the film quickly gives way to increasingly caricatured depictions ...‐ New York Magazine/Vulture
Read More | Posted Apr 7, 2017
98% Your Name. (Kimi No Na Wa.) (2017) It's only barely a romance, bypassing much of that familiar territory to explore something much more intimate and strange.‐ New York Magazine/Vulture
Read More | Posted Apr 6, 2017
43% The Discovery (2017) This is peak TV in a feature-film package, a faux-deep, workmanlike script splashed with some strikingly moody sci-fi imagery tailor-made for a YouTube trailer.‐ New York Magazine/Vulture
Read More | Posted Mar 30, 2017
45% Ghost in the Shell (2017) The filmmakers ... have put all their chips on the aesthetic. It's exhausting to watch them curate what parts of the story's Japanese origin are worth keeping and which can be discarded.‐ New York Magazine/Vulture
Read More | Posted Mar 30, 2017
67% Life (2017) It's Alien for short attention spans, Arrival for non-pacifists, with some remnant of ambition toward something headier. On that count, it falls short, but as a final-girl structured horror film, it has plenty of imaginative moments.‐ New York Magazine/Vulture
Read More | Posted Mar 24, 2017
46% Saban's Power Rangers (2017) As cash grabs go, this one is delightfully unconcerned with coolness, neither shying away from its chintzy roots nor ironically embracing them.‐ New York Magazine/Vulture
Read More | Posted Mar 24, 2017
95% Prevenge (2017) Perversely prodding at all that we take for granted about pregnancy, Lowe has found a pitch-black, occasionally profound story about a woman's loss of control over her body and mind, pulled between forces of life and death.‐ New York Magazine/Vulture
Read More | Posted Mar 21, 2017
53% The Belko Experiment (2017) The Belko Experiment is the kind of film many people will walk out of, and those who stick it out to the end just to see the curtain pulled back will be sorely let down by an ending so anti-climactic I could spoil it right now and you'd ask, "That's it?"‐ New York Magazine/Vulture
Read More | Posted Mar 15, 2017
90% Raw (2017) A French-Belgian horror film that combines flesh eating with the horrors of college hazing to spin a loopy parable of abstinence and indulgence, bingeing and purging.‐ New York Magazine/Vulture
Read More | Posted Mar 3, 2017
71% Beauty and the Beast (2017) If only Beauty and the Beast were just a collection of stills, like a fancy Annie Leibowitz spread for some glossy quarterly edition of Disney Adventures. Unfortunately, it's over two hours long.‐ New York Magazine/Vulture
Read More | Posted Mar 3, 2017
67% Before I Fall (2017) The film mostly retains its humanity, largely thanks to Deutch's performance and Russo-Young's insistence on keeping her at the forefront of almost every shot.‐ New York Magazine/Vulture
Read More | Posted Feb 28, 2017
100% My Life as a Zucchini (Ma vie de courgette) (2017) My Life As a Zucchini is a deft work of empathy, and unlike a few of its fellow animation Oscar contenders, it works on a more intimate scale, without a big message or master thesis to carry it to its conclusion.‐ New York Magazine/Vulture
Read More | Posted Feb 24, 2017
25% The Comedian (2017) This is a film that reaches its emotional climax among a crowd of senior citizens at a nursing home singing a rousing song about the difficulty of bowel movements.‐ New York Magazine/Vulture
Read More | Posted Feb 4, 2017
13% Collateral Beauty (2016) The cast feels checked out: Winslet and Norton, two attractive and charismatic performers, have never looked more painted and tired.‐ New York Magazine/Vulture
Read More | Posted Dec 17, 2016
95% The Handmaiden (Ah-ga-ssi) (2016) By replacing the class system of Victorian England with the dynamic of the occupier and occupied, Park has tapped into something uniquely complex about a chapter of history that is rarely explored.‐ The Verge
Read More | Posted Sep 12, 2016
55% The Purge: Election Year (2016) The Purge's satire is not of a particularly subtle or sharp variety, but it's deeply effective.‐ The Verge
Read More | Posted Jun 29, 2016
90% Green Room (2016) The outsized circumstances end up making it funnier, too -- the film has a kind of locked-jaw sardonic sense of humor that is the perfect counterbalance to its moody camerawork and soundtrack.‐ The Verge
Read More | Posted Apr 13, 2016
No Score Yet Dead Slow Ahead (2015) It's a rare thing to get to see a film that is capable of provoking that kind of revelation.‐ The Verge
Read More | Posted Mar 15, 2016
10% The Forest (2016) With jump scares and cornball demon faces lurking around every corner, the more ambient (and important) existential despair of Aokigahara is lost.‐ The Verge
Read More | Posted Jan 14, 2016
98% Inside Out (2015) I hope its real, quite sophisticated lesson -- that it's okay to feel things other than happiness sometimes, and that all our emotions help us grow up -- comes through all the bouncing marbles and glitter showers and rainbow pony princesses.‐ The Verge
Read More | Posted Aug 31, 2015