Emily Yoshida

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New York Magazine (Vulture), The Verge
For 239 reviews, this critic has graded:
  • 41% higher than the average critic
  • 3% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 3.9 points lower than other critics. (0-100 point scale)

Emily Yoshida's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Shoplifters
Lowest review score: 0 The Book of Henry
Score distribution:
  1. Positive: 128 out of 239
  2. Mixed: 84 out of 239
  3. Negative: 27 out of 239
239 movie reviews
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    • 71 Metascore
    • 60 Emily Yoshida
    Ralph Breaks the Internet
    If Wreck-It Ralph was a film about jobs and self-image, the addition of commerce into that equation in its sequel makes everything exponentially more manic and unstable. And after nearly two hours of our eyeballs being flooded with savvy, incessant product placement of eBay, Amazon, Pinterest, and of course the entire Walt Disney Company portfolio, we’re all wrecked.
    • 81 Metascore
    • 60 Emily Yoshida
    Mirai
    As the encounters stack up, though, the impact of what Hosoda is starting to do starts to cohere, and it’s pretty effective stuff. The extradimensional travel is an obvious but heart-tuggingly direct way to get at the truth that everyone was a kid once, a fact that is mind-boggling when you’re a kid, and bittersweet when you’re an adult.
    • 50 Metascore
    • 60 Emily Yoshida
    The Boss Baby
    All other films hoping to become the official cinematic standard-bearer of #TheResistance, take a seat. This is the most damning political narrative of 2017.
    • 64 Metascore
    • 60 Emily Yoshida
    Downsizing
    I appreciate that Payne is more interested in blowing out a middle-class American perspective, and its perpetual victimhood narrative. But Damon is completely forgettable here — I suspect that’s by design, but nothing about him commands you watch him the way you watch Chau or Waltz.
    • 39 Metascore
    • 60 Emily Yoshida
    Woodshock
    There are a lot of half-complete ideas among the sisters’ jumble of imagery, but trying to tie them together is a fitfully enjoyable, if ultimately fruitless experience.
    • 62 Metascore
    • 60 Emily Yoshida
    Annabelle: Creation
    There’s nothing cheap about the rest of Annabelle: Creation, so this scattered finale felt like a letdown.
    • 68 Metascore
    • 60 Emily Yoshida
    The Boy Who Harnessed the Wind
    The film remains too mannered for its own good; it’s unquestionably nice and well-intentioned, but lacking momentum.
    • 78 Metascore
    • 60 Emily Yoshida
    The Sisters Brothers
    Put up side-by-side, the redemption of killers doesn’t feel quite as urgent a narrative as the alliance of idealists, and in its final minutes The Sisters Brothers retreats back from some interesting, adventurous territory to something all too familiar.
    • 69 Metascore
    • 60 Emily Yoshida
    The Miseducation of Cameron Post
    Cameron Post is the kind of film that openly courts falling into the cinematic limitations of an “issues film.” Akhavan’s sense of place and ensemble do a lot to counter that, but that specificity ends with the main character.
    • 73 Metascore
    • 60 Emily Yoshida
    Honey Boy
    As an origin story for a young actor’s warped worldview, Honey Boy is compelling.
    • 51 Metascore
    • 60 Emily Yoshida
    Rough Night
    Rough Night, which is like an episode of Broad City that got a blowout and smoked a pound of primo studio notes, tries to have it both ways. It wants to be a character-based lost-weekend romp, but keeps forcing itself toward increasingly ridiculous and self-consciously naughty set pieces.
    • 62 Metascore
    • 60 Emily Yoshida
    Alex Strangelove
    Alex Strangelove is a little stylistically unambitious, nor is it terribly compelling as a romance — who Alex ends up with is ultimately beside the point.
    • 56 Metascore
    • 60 Emily Yoshida
    The Commuter
    This isn’t to say that the humans in The Commuter act anything like real people; the train is the most realistic performer here, but you could do a lot worse.
    • 62 Metascore
    • 60 Emily Yoshida
    The Children Act
    In the hands of "Iris" and "Notes on a Scandal" director Richard Eyre, McEwan’s story is stagy and austere, taking place in gleaming flats and spotless courtrooms, like a Nancy Meyers movie with more court wigs. It’s a wan, sapped atmosphere, making the life, faith, and literal blood of a 17-year-old boy all the more stark a line to run through it.
    • 48 Metascore
    • 60 Emily Yoshida
    I Feel Pretty
    The plot-engine joke — that Schumer’s character Renee hits her head and wakes up convinced she’s gorgeous — is nothing if not well-intentioned, but veers into cheap and easy enough times to be misinterpreted. When it’s good, though, and when Schumer’s fully locked into her take-no-prisoners charm assault, it’s pretty undeniably delightful stuff.
    • 68 Metascore
    • 60 Emily Yoshida
    Rafiki
    Its lead protagonists and their endless reserve of raw, bittersweet chemistry are Kahiu’s greatest asset.
    • 69 Metascore
    • 60 Emily Yoshida
    22 July
    Just like the families of the victims in the film who feel nauseous at the prospect of making a celebrity out of Breivik and spreading his toxic ideology, I feel a little queasy at the chilling, captivating portrayal of him by Anders Danielsen Lie. I feel uneasy being “captivated” by any of this, period.
    • 75 Metascore
    • 60 Emily Yoshida
    Whitney
    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.
    • 57 Metascore
    • 60 Emily Yoshida
    Teen Spirit
    Violet wants to sing. Does Violet want to be a pop star? This is posed as the the driving question of the film, but nothing about Fanning’s performance suggests a desire for much of anything.
    • 51 Metascore
    • 60 Emily Yoshida
    Peter Rabbit
    It’s so insistent that this isn’t your great-grandmother’s Peter Rabbit — while, again, not straying from the original character design all that much — that it feels like the animators are at war with the writers, and the loudest of the two groups tends to win out at every turn.
    • 66 Metascore
    • 60 Emily Yoshida
    Landline
    It’s a light musing on adulthood and monogamy and sisterhood, washed in Pavlovian period nostalgia. The revelations are gentle, but worthwhile.
    • 67 Metascore
    • 60 Emily Yoshida
    Chappaquiddick
    Chappaquiddick is somehow both cynical and deeply inquisitive about the morals of every character involved.
    • 54 Metascore
    • 60 Emily Yoshida
    Hotel Transylvania 3: Summer Vacation
    Ultimately, Hotel Transylvania 3 is for very young children, and God love it for that.
    • 60 Metascore
    • 60 Emily Yoshida
    Under the Silver Lake
    Like any conspiracy theorist, you sense that landing on an actually airtight unified theory would almost spoil the fun for Mitchell.
    • 75 Metascore
    • 60 Emily Yoshida
    Grace Jones: Bloodlight and Bami
    During the many scenes back home in Jamaica, blessed with the lively Jones clan as subjects, the director doesn’t have any idea what to do with her camera.
    • 71 Metascore
    • 60 Emily Yoshida
    Wonderstruck
    Wonderstruck gestures at a lot, especially between the two narratives, which Haynes flips between with such rapidity that the film isn’t able to find a tonal groove until well past its halfway point.
    • 74 Metascore
    • 60 Emily Yoshida
    Mary and The Witch's Flower
    What Mary lacks in the resources to visually gobsmack, it partially makes up for with its unstoppable titular ginger, whose empathy, depressive streak, and enviably fierce eyebrows place her shoulder to shoulder with any Ghibli heroine.
    • 58 Metascore
    • 60 Emily Yoshida
    Hotel Artemis
    Ultimately, in all its artifice and haphazard but enthusiastic invention, Hotel Artemis makes me a bit nostalgic for French ’90s genre fare of Jean-Pierre Jeunet and Marc Caro and, of course, Luc Besson, embracing their daffiness and dreaminess with an somewhat counterintuitive, almost naïve lack of vanity.
    • 63 Metascore
    • 60 Emily Yoshida
    Gaga: Five Foot Two
    Five Foot Two distinguishes itself from similar projects from Justin Bieber and Katy Perry by not trying to be a 101 class in the subject and her personal history, but when it hits similar beats — heartbreak, the physical demands of performing, tearful scenes with family — anyone who doesn’t have a Little Monster’s encyclopedic knowledge might feel a little emotionally lost.
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