Emily Yoshida Movie Reviews & Previews - Rotten Tomatoes

Emily Yoshida

Emily Yoshida
Tomatometer-approved critic

Movie Reviews Only

Rating T-Meter Title | Year Review
68% 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
79% 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
59% 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
68% 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
10% 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
67% Peterloo (2018) 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
76% 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
99% 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
44% 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
85% 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
92% 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
72% Christopher Robin (2018) [If you] found your old favorite stuffed toy, would you take it home and begin sleeping with it again? Christopher Robin more or less believes that you would, and what's more, it would be the morally right and spiritually healthy thing to do.‐ New York Magazine/Vulture
Read More | Posted Aug 2, 2018
86% The Miseducation of Cameron Post (2018) Chloë Grace Moretz plays Cameron with such tasteful reserve, all blank stares and slightly agape mouth in the face of the most ardent down-is-up doctrine.‐ New York Magazine/Vulture
Read More | Posted Aug 1, 2018
82% Puzzle (2018) Like its protagonist, Puzzle finds itself as it goes along, and Agnes becomes a truly interesting person to root for.‐ New York Magazine/Vulture
Read More | Posted Jul 26, 2018
44% Hot Summer Nights (2018) Falling into the same trap as many nostalgia pieces before it, it stops being about a lived time or place, and seems content to just be about other movies.‐ New York Magazine/Vulture
Read More | Posted Jul 26, 2018
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
51% 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
80% 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
28% 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
63% 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
84% 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
57% 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
68% 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
71% 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
86% 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
71% Ibiza (2018) I'm not even fully confident in calling it a movie.‐ New York Magazine/Vulture
Read More | Posted May 24, 2018
62% 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
72% 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
68% 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
57% 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
95% 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