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.
    • 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.
    • 71 Metascore
    • 70 Emily Yoshida
    Everybody's Everything
    The film ... is more emotional than definitive; stopping just short of bestowing sainthood on the artist, but still aiming for something a little more cosmic than reportorial. This is not a “what really happened” exposé of his death, nor is it an academic postmortem on Peep’s musical or cultural legacy. It’s most effective as a character study.
    • 71 Metascore
    • 70 Emily Yoshida
    Gemini
    The film’s conclusion leaves a lot to be desired, which is unfortunate given how well it weaves its atmosphere and small ensemble together.
    • 71 Metascore
    • 70 Emily Yoshida
    Ingrid Goes West
    Director Matt Spicer’s Sundance breakout is a friend-crush tale as old as time, modeled almost to a T on "The Talented Mr. Ripley" (without the murder). As such, your mileage will vary depending on whether or not you’ve ever been to Café Gratitude and how much of a tolerance you have for Aubrey Plaza.
    • 71 Metascore
    • 70 Emily Yoshida
    Girls Trip
    Like "Bridesmaids," it makes no more promises than an actual night out: These people will be there, and the goal is to have a good time. And while it may not quite have the undergirding pathos of the former, Girls Trip is a very good time.
    • 70 Metascore
    • 90 Emily Yoshida
    Her Smell
    Much of Her Smell, especially these backstage scenes, border on unintelligible, with numerous exchanges getting lost in the chaos. I found this to be incredibly, teeth-grindingly effective — this is a thoroughly subjective depiction of mental illness and substance abuse, and the accurate relay of information often takes a backseat in the throes of such a state.
    • 70 Metascore
    • 70 Emily Yoshida
    A Ciambra
    The film treads familiar territory when it’s trying to carve cinema-worthy myth from its semi-fictitious protagonist’s life, but its more impressionistic, painterly moments are what feel truly fresh.
    • 70 Metascore
    • 40 Emily Yoshida
    Sword of Trust
    Sword of Trust feints at being an Ideas movie, but really only wants to hang — which is certainly not a crime, but given the subject matter, and These Times, it’s a little disappointing.
    • 70 Metascore
    • 80 Emily Yoshida
    Late Night
    What makes Late Night — otherwise a largely predictable story in a familiar mold — really pop is Kaling’s script, which is at the blunter and frankly more exciting spectrum of what Kaling has proven herself to be capable of in her writing career thus far.
    • 70 Metascore
    • 80 Emily Yoshida
    Brimstone & Glory
    Brimstone & Glory, in a lean 67 minutes of cinematic poetry, bears that love out in dizzying extremes.
    • 70 Metascore
    • 80 Emily Yoshida
    Double Lover
    Ozon is doing sexual gymnastics all over his uncanny womb-based plot, and somehow it all coheres pretty seamlessly, even at its most ridiculous.
    • 19 Metascore
    • 0 Emily Yoshida
    Polar
    If only the issue with Polar, Åkerlund’s fifth feature film, was merely shallowness. Polar is an execrable motion picture, a sad, lint-filled key bump scraped together from the bottom of the post-Tarantino ’90s exploitation baggie.
    • 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.
    • 69 Metascore
    • 70 Emily Yoshida
    It
    This new It has more on its mind, and gives more body and voice to King’s ideas of childhood anxieties and the corrosive power of fear.
    • 69 Metascore
    • 70 Emily Yoshida
    Gook
    The images of polo-shirt wearing Asian men with rifles lining the rooftops of Koreatown is one of the more troubling images from April 1992. Gook purposefully chooses not to tell a story of that scale, but I did wish it could have found more moral complexity in the corner of the city it chose to depict.
    • 69 Metascore
    • 90 Emily Yoshida
    Climax
    I was shocked to discover that I was actually … touched. Climax is a small miracle, and if this is Noé going soft (for him, of course), that might actually be a very good thing for the movies.
    • 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.
    • 68 Metascore
    • 70 Emily Yoshida
    Fighting with My Family
    Merchant is more brutally honest than most sports movies — or any kind of rising-star movie, for that matter — about failure, and it makes Fighting With My Family better than it needs to be. The entire cast is a pleasure, particularly the dynamo Pugh.
    • 68 Metascore
    • 80 Emily Yoshida
    Professor Marston & the Wonder Women
    What Professor Marston and the Wonder Women does, with a wink but refreshingly few snickers, is color in the life-giving fantasy that fueled the creation of the perennially embattled American icon.
    • 68 Metascore
    • 80 Emily Yoshida
    Everybody Knows
    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.
    • 68 Metascore
    • 70 Emily Yoshida
    Thank You for Your Service
    Thank You for Your Service is a more critical film than most in this milieu, and it’s refreshingly honest about mental-health issues.
    • 68 Metascore
    • 70 Emily Yoshida
    An Inconvenient Sequel: Truth to Power
    As a character study, it’s highly successful, but given the context it will be watched in — albeit not quite as oxygen-deprived and manic as Sundance — it feels a little too pat.
    • 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.
    • 68 Metascore
    • 70 Emily Yoshida
    The Party's Just Beginning
    A brutal, meandering depiction of a quarter-life crisis, Gillan’s script is staunchly resistant of silver linings or “it gets better” messaging.
    • 68 Metascore
    • 70 Emily Yoshida
    Beatriz at Dinner
    Beatriz at Dinner may not stick the landing, but its central clash between healers and destroyers maintains its choke hold long after the credits have rolled.
    • 67 Metascore
    • 60 Emily Yoshida
    Monsters and Men
    Monsters and Men, then, functions more as a lightly fictionalized photo essay than a narrative film — which is okay, it just means that it feeds more off timeliness than character or art, and there are obvious limitations to that.
    • 67 Metascore
    • 40 Emily Yoshida
    Vox Lux
    As a story of popular art born in the crucible of violent trauma, it’s a fantastic, wildly ambitious idea; as a filmed drama with human characters, it’s confoundingly executed at every turn. Vox Lux is a failure, but one I can’t stop thinking about.
    • 67 Metascore
    • 80 Emily Yoshida
    Brigsby Bear
    It elicits more than a few excruciating laugh-out-loud moments, but it’s also tragic and vulnerable — not to mention frequently unpleasant.
    • 67 Metascore
    • 60 Emily Yoshida
    Chappaquiddick
    Chappaquiddick is somehow both cynical and deeply inquisitive about the morals of every character involved.
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